RBMC: Spectrum of the Senses

Date: 15 November 2002 | Season: London Film Festival 2002 | Tags: ,

Friday 15 November 2002, at 6:30pm
London National Film Theatre NFT3


The spectrum of selections includes subterranean science, oneiric eroticism, chemystical experiments, cultural ephemera, exquisite documents of arcane performance, found footage fetishes, abstractions (architectural & luminous), and some gems from our private collections. (Bradley Eros & Brian Frye)

Keith Sanborn, For the Birds, USA, 2000, 8 min
Inspired by the 11th century Sufi mystical text ‘The Conference of the Birds’, which explores transparency and opacity, multiplicity and unity, narrative and insight, the mundane and the ecstatic.

Bradley Eros & Brian Frye, Brian Frye tells the Legend of Robert Beck, USA, 2002, 3 min
The story that begat our cinema, with appropriate fanfare.

Bradley Eros & Marie Losier, Sanitarium Cinema, USA,-France 2002, 7 min
The legend of the Wilfully Obscure as hallucinated fable.

Brian Frye, Wormwood’s Dog & Monkey Show, USA, 2001, 12 min
‘Quis cutodiet ipsos custodes? My version of watching the detectives, or playing the reporter at the scene of the crime. Or perhaps just an approximation of habeas corpus?’

Julie Murray, Micromoth, Ireland-USA, 2000, 6 min
Trawling the spaces shaped by small dead things among many chambers somewhere between the naked eye and the mansions of molecules.

Kenji Onisihi, Light Point, Japan, 2001, 9 min
Exquisite heliotropic fixation, hypnotised by solar-eyes through surges of billowy clouds.

Jeanne Liotta, Observando el Cielo, USA, 2002, 3 min
A starry camera roll. Sometimes 2½ minutes actually equals a year.

Bradley Eros, Aurora Borealis, USA, 2002, 7 min
Where the lunar moth emerges from industrial rubber & the Milky Way is spun from spider’s silk. An homage to Joseph Cornell.

Unknown, Bubble Dance, USA, c.1939, 3 min
Sally Rand’s lighter-than-air dance of the ridiculous & the sublime. The scandal of the Chicago World’s Fair, 1933.

F.P. Boué, Medalla, Switzerland-USA 2002, 3 min
Documenting a performance by David Medalla, inspired by Genet’s Un Chant d’Amour. Condensed occurrences of the erotic and the sacred within one Super 8 roll.

Glen Fogel, Reflex, USA, 1999, 4 min
Fractured images, accompanied by a pulsation, create an erotic, claustrophobic space. A veiled Narcissus appears, blurring the internal and external, the intimate, and the invasive.

Glen Fogel, Endless Obsession, USA, 2000, 5 min
Through extraction and re-editing, an erotic tension emerges between the young males in Pasolini’s Salo, creating an ambiguous and rhythmic narrative for the desires of the viewer.

Bradley Eros & Jeanne Liotta, Radiant Flesh, USA, 1990, 9 min
‘The golden section’ of the expanded fungus eroticus film, where the undulating textures of skin, decay, and regeneration merge. ‘A fermented vision, both sensual and disturbing, raw and lysergic.’

Anonymous, “Triple Your Pleasure”, USA, 1940s, 2 min
A gift. Found in the trash … but bubbling with more joy than dirt.

Lee Ellickson & Brian Frye, Robert Beck is Alive and Well and Living in New York City, USA, 2000, 3 min
The late Stuart Sherman performs an homage to our patron saint, and (once revived) enacts an even more opaque ritual.

Robert Attanasio, Counterfeit Music Video #10: Clearing, USA, 2000, 4 min
By resisting a literal depiction of the song’s narrative, Clearing suggests that the ideal music video may be imageless. It allows the viewer to experience the music with a minimum of visual distraction, and, in asserting this belief, just barely avoids eliminating itself.

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RBMC: Multiplying Mirrors

Date: 16 November 2002 | Season: London Film Festival 2002 | Tags: ,

Saturday 16 November 2002, at 7:30pm
London 291 Gallery


Consisting entirely of expanded cinema works emphasising the ephemeral nature of film’s more experimental aspect. Works for two or more projectors mixing video and film, or film and 3D slides, or layering, doubling, or tripling images, in 16mm or Super-8, with variable speeds and multiple screens … performative and unfixed. (Bradley Eros & Brian Frye)

Bruce McClure, Physical Cultures, USA, 2002, 10 min
A presentation of slipping light events, crude and natural, using two 16mm loops with colour filters.

F.P. Boué, T, Switzerland-USA, 1998, 7 min
Traces of simultaneous construction and demolition observed under a monumental bridge over many days, under many lights. Projected presence and absence of tectonic entities and floating layers: recurring solid black intervals give way to rhythms built in the image.

Glen Fogel, Control Sequences, USA, 2000, 6 min
The camera is not so much an eye but a strong hand guiding us through its own desire. The once familiar landmarks and contours of the body are confused through intense close-up and the layering of plastic and water, film and video.

Glen Fogel, Ascension. USA, 2001, 6 min
Taken from 3 weeks recordings of The Price is Right, the film explores the intense emotional transformation of game show contestants, a joy so extreme that it crosses the line between pleasure and pain, euphoria and sadness.

Bradley Eros, Solar Anus, USA, 2001, 6 min
A porn-iconoclastic double pink, in a cosmological labyrinth, anointed by an amorous frenzy. Layers found and unbound, from sex to science to surgery, of the ocular, oneric, and obscene. Inspired by Bataille’s circulatory text.

Bradley Eros, Osmosis, USA, 1972-2002, 10 min
Oscillating Simultaneous Memories Of Sensuality’s Intimate Spectrum. The elemental, the ephemeral, & the constructed in a process of absorption and diffusion.

Zoe Beloff, Claire and Don in Slumberland, Scotland-USA, 2002, 30 min
Claire and Don traffics in the phantasmal, the monstrous, and the home movie in its journey into the unconscious. I imagined characters whose particular sensitive mental state would allow them to hear sounds inaudible to our waking ears, sounds that still, in some unknown wavelength, reverberated from the radio towers, sounds of other vanished inhabitants of this world.’

Presented in association with Light Readings.

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