ngg_shortcode_0_placeholder<\/p>\n
FLY INTO THE MYSTERY Laida Lertxundi, A Lax Riddle Unit, Spain-USA, 2011, 6 min Beatrice Gibson, Agatha, UK, 2012, 14 min Lewis Klahr, Well Then There Now, USA, 2011, 11 min Mary Helena Clark, The Plant, USA, 2012, 8 min Janie Geiser, Arbor, USA, 2012, 7 min Beatrice Gibson, The Tiger\u2019s Mind, UK, 2012, 20 min FLY INTO THE MYSTERY A LAX RIDDLE UNIT AGATHA WELL THEN THERE NOW THE PLANT ARBOR THE TIGER\u2019S MIND
\nSunday 21 October 2012, at 9pm
\nLondon BFI Southbank NFT 3<\/strong><\/p>\n
\n<\/strong>\u2018In a Los Angeles interior, moving walls for loss. Practicing a song to a loved one. A film of the feminine structuring body.\u2019 (LL)<\/p>\n
\n<\/strong>Strangers in a strange land. As the narrator recounts a dream by composer Cornelius Cardew, the viewer is transported from the hills of Snowdonia to a mental landscape where sci-fi commingles with sexual fantasy.<\/p>\n
\n<\/strong>Loosely interpreting a scenario by John Zorn, Klahr uses subconscious logic to weave strands of suspense from collaged images and fragments of voiceover.<\/p>\n
\n<\/strong>\u2018A film filled with clues and stray transmissions built on the bad geometry of point-of-view shots.\u2019 (MHC)<\/p>\n
\n<\/strong>The layered imagery of Geiser\u2019s uncanny animations suggest surreal worlds and spectral presences. \u2018I was wide awake, in a dream.\u2019<\/p>\n
\n<\/strong>Again referencing Cardew, Gibson\u2019s new project The Tiger\u2019s Mind <\/em>takes his 1967 text score and applies it to the process of making a collaborative film, for which each contributor assumes the role of a character. The result is an abstract psychodrama and crime thriller set against the backdrop of a modernist house. Commissioned by The Showroom and CAC Bretigny.<\/p>\nPROGRAMME NOTES<\/a>
\n<\/strong>Sunday 21 October 2012, at 9pm
\nLondon BFI Southbank NFT 3<\/p>\n
\nLaida Lertxundi, Spain-USA, 2011, 16mm, colour, sound, 6 min
\n<\/strong>A Lax Riddle Unit<\/em> shows a series of gentle transformations. Each of the film\u2019s turns reveals a surprise: a woman suddenly appearing in bed, and, from behind an album cover, her shy smile. With the film\u2019s elements of Los Angeles landscape, houseplants, and James Carr\u2019s plaintive \u2018Love Attack\u2019, continually rearranged like the letters of the title, which is an anagram for Lertxundi\u2019s own name, there is the sense of kaleidoscopic rotation, breathtaking views made with the slightest of movements: changing light, cuts, and slowly revolving camera pans. (Genevieve Yue)<\/p>\n
\nBeatrice Gibson, UK, 2012, video, colour, sound, 14 min
\n<\/strong>The side of the frame flares out so you know it\u2019s a dream. It becomes apparent that, although similar, there are profound differences between this planet and our own. The most startling is the lack of verbal language. The narrator, our guide to this world, tells us how communication happens, based on interactions with Gladys and Agatha, two beings that confound as they draw the observer in. The names are created for our benefit, and one must wonder if any observations can be trusted, are they all too written, too read from dialogue that isn\u2019t there? What may be certain is the loosening that happens with regard to interpretation. If words cease to have importance then how can the experiences on this planet be readily expressed? Instead of syntax and meaning we are left with rhythm and colour. Based on a dream had by the radical British composer Cornelius Cardew. (Images Festival)
\nwww.dliub.org<\/p>\n
\nLewis Klahr, USA, 2011, video, colour, sound, 11 min
\n<\/strong>An unfaithful interpretation of John Zorn\u2019s early 80\u2019s film script \u2018A Treatment For A Film in 15 Scenes\u2019. I consider Well Then There Now<\/em> a \u2018list\u2019 film since Zorn\u2019s text is really a shot list. An exploration of the singularity of the image but, a playful one. Script and Music by John Zorn; Additional Text Lifts from Philippe Soupalt and Alain Robbe Grillet; Voiceover by Slater Klahr.
\n(Lewis Klahr)<\/p>\n
\nMary Helena Clark, USA, 2012, video, colour, sound, 8 min
\n<\/strong>A film filled with clues and stray transmissions built on the bad geometry of point-of-view shots. (Mary Helena Clark)<\/p>\n
\nJanie Geiser, USA, 2012, video, b\/w, sound, 7 min
\n<\/strong>From a set of photographs found in a thrift store, Geiser creates a liminal space between representation and abstraction, figure and landscape, fiction and memory. Arbor<\/em> suggests the fragility and ephemerality of memory and its artifacts through subtle manipulations of the photographs: reframings, layerings, inversions, and through the introduction of three dimensional elements, including flowers and thread. The photographs\u2019 subjects are elusive; they rarely engage the camera; they are glimpsed, rather than seen. They look elsewhere, and wait for something inevitable. Gathering on a hillside, lounging on the grass beyond now-lost trees, the inhabitants of Arbor<\/em> cycle through their one remembered afternoon, gradually succumbing to time or dissolving into landscape, reserving for themselves what we can\u2019t know \u2013 and becoming shadows in their own stories. (Janie Geiser)
\nwww.janiegeiser.com<\/a><\/p>\n
\nBeatrice Gibson, UK, 2012, video, colour, sound, 22 min
\n<\/strong>The Tiger\u2019s Mind<\/em> is an abstract crime thriller set against the backdrop of a brutalist villa. Six characters, The Tiger, The Mind, The Tree, Wind, The Circle and a girl called Amy (the set, the music, the sounds, the special effects, the narrator and the author respectively) battle one another for control of the film as it unfolds on screen. The film explores the relationships between these characters as they emerge and unfold: grappling, wrestling, and dreaming with one another. The Tiger\u2019s Mind<\/em> is based on an experimental narrative score of the same name, written in 1967 by the radical British composer Cornelius Cardew. Departing from the character-based and improvisatory nature of the score and working with a fixed group of artists for over a year-long period (Alex Waterman as the Tree, Jesse Ash as the Wind, John Tilbury as the Mind, Celine Condorelli as the Tiger, Will Holder as Amy and Beatrice Gibson as the Circle) the film deployed the score as a production structure inviting the participants to develop its varying components: soundtrack, set, special effects, music and text. The resulting piece presents a portrait of its own making in fictional form, extending narrative and character to the production process itself. Tiger\u2019s sets, Mind\u2019s music, Wind\u2019s effects, Tree\u2019s foley, Amy\u2019s narration and Circle\u2019s authorship all knock up against each other in a battle for primacy. (Beatrice Gibson)
\nwww.dliub.org<\/a><\/p>\n