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SPRING WITH ROSE LOWDER<\/strong> Rose Lowder will present a selection of her films from the 1970s to the present day. Lowder\u2019s ecological style portrays nature in a unique manner, with each film meticulously constructed by individually composing and exposing every single frame. In projection, condensed clusters of images form a retinal collage of spatial and temporal impressions. This programme mixes early works such as Parcelle<\/i> (1979) and Les Tournesols<\/i> (1982) with selections from the ongoing series of Bouquets<\/i> (1994-present) and other recent films shown for the first time in the UK.<\/p>\n Rose Lowder, Champ Proven\u00e7ale, 1979, colour, silent, 9 min<\/strong> After studying painting and sculpture in artists’ studios and art school in Lima and London, Rose Lowder pursued her artistic practice while working as an editor in the film industry. From 1977 onwards, her research concentrated on the visual aspect of the cinematographic process. A co-founder of Les Archives du film exp\u00e9rimental d’Avignon (AFEA), a film and document collection, Lowder is currently associate professor at the Sorbonne.<\/p>\nPROGRAMME NOTES<\/a> SPRING WITH ROSE LOWDER<\/strong> “I did not have a preconceived idea of a method for making my films. It is only in trying, with the available means, to solve the problems that occurred that progressively from one film to another, that I found different ways to proceed. Having practised various fine arts for a long time, I began by using the resources belonging to those means of expression in order to explore various ways one can establish relationships between aspects of reality and the essential qualities of the film image seen projected on the screen.<\/p>\n “Like many filmmakers working outside the norms of traditional production, I tested, without intervening physically in the filmed (or not filmed) reality, a variety of procedures that form the substance constituting the film image. This way of working draws attention to the procedure by which the image is produced to the extent that the process of fabrication plays a greater part in the meaning the work intends to convey.<\/p>\n “The concentration on the rendering of the images installs a less direct relationship between what is considered the usual appearance of reality and the film’s images, which leads to changes in how one conceives the link between observed or lived reality, and what is made evident on the screen during the projection of the finished film.”<\/p>\n
\n<\/strong>Sunday 14 March 2004, at 2pm<\/strong>
\nLondon Tate Britain Clore Auditorium<\/strong><\/p>\n
\n Rose Lowder, Parcelle, 1979, colour, silent, 3 min<\/strong>
\n Rose Lowder, Les Tournesols, 1982, colour, silent, 3 min<\/strong>
\n Rose Lowder, Les Tournesols Color\u00e9s, 1983, colour, silent, 3 min<\/strong>
\n Rose Lowder, Roulement, Rouerie, Aubage, 1978) b\/w & colour, silent, 15 min<\/strong>
\n Rose Lowder, Quiproquo, 1992, colour, sound, 13 min<\/strong>
\n Rose Lowder, Les Coquelicots, 2000, colour, silent, 3 min (18fps)<\/strong>
\n Rose Lowder, Bouquets 21-27, 2001-03, colour, silent, 10 min (18fps)<\/strong><\/p>\n
\n<\/strong>Sunday 14 March 2004, at 2pm
\nLondon Tate Britain Clore Auditorium<\/p>\n