{"id":858,"date":"2004-09-12T17:00:27","date_gmt":"2004-09-12T16:00:27","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=858"},"modified":"2018-01-25T14:58:57","modified_gmt":"2018-01-25T14:58:57","slug":"the-active-screen","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/12\/the-active-screen\/","title":{"rendered":"The Active Screen"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: THE ACTIVE SCREEN<br \/>\nSunday 12 September 2004, at 5pm<br \/>\nDortmund PhoenixHalle<\/b><\/p>\n<p>After Morgan Fisher\u2019s film activates the projector through a series of instructions to its operator, a programme of works that energise the normally passive screen, involving the direct participation of the artist. Guy Sherwin\u2019s magical 8mm performances subtly blur our perception of reality and the projected image. <i>Operation<\/i> uses the body as projection surface, whilst the artist must draw on the canvas of the screen to fully realise <i>Auf+Ab+An+Zu<\/i>. <i>After Leonardo<\/i> uses six projectors to juxtapose a \u2018real\u2019 reproduction of the Mona Lisa with its re-photographed image and a Freud text on its creator.<\/p>\n<p><b>Morgan Fisher, Projection Instructions, 1976, 4 min, film performance<br \/>\nGuy Sherwin, Paper Landscape, 1975, 10 min, film performance<br \/>\nWerner Nekes, Operation, 1967, 4 min, film performance<br \/>\nValie Export, Auf+Ab+An+Zu, 1968, 4 x 5 min, film performance<br \/>\nMalcolm Le Grice, After Leonardo, 1973, 22 min, multi-screen performance<br \/>\nGuy Sherwin, Man With Mirror, 1976, 10 min, film performance<br \/>\n<\/b><\/p>\n<a onclick=\"wpex_toggle(1298672365, 'Read more', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink1298672365\" href=\"#\">Read more<\/a><div class=\"wpex_div\" id=\"wpex1298672365\" style=\"display: none;\"><\/p>\n<p><b>EXPANDED CINEMA: THE ACTIVE SCREEN<\/b><br \/>\nSunday 12 September 2004, at 5pm<br \/>\nDortmund PhoenixHalle<\/p>\n<p><b>PROJECTION INSTRUCTIONS<br \/>\nMorgan Fisher, USA, 1976, <\/b><b>16mm, b\/w, silent, 4 min, film performance<\/b><\/p>\n<p><strong>PAPER LANDSCAPE<\/strong><br \/>\n<strong> Guy Sherwin, UK, 1975, 16mm, colour, silent, 10 min, film performance<\/strong><\/p>\n<p><strong>OPERATION<\/strong><br \/>\n<strong> Werner Nekes, Germany, 1967, 16mm, colour, silent, 4 min, film performance<\/strong><\/p>\n<p><strong>AUF+AB+AN+ZU<\/strong><br \/>\n<strong> Valie Export, Austria, 1968, 16mm, colour, silent, 4 x 5 min, film performance<\/strong><\/p>\n<p><strong>AFTER LEONARDO<\/strong><br \/>\n<strong> Malcolm Le Grice, UK, 1973, 16mm, colour, sound, 22 min, multi-screen performance<\/strong><\/p>\n<p><strong>MAN WITH MIRROR<\/strong><br \/>\n<strong> Guy Sherwin, UK, 1976, 16mm, colour, silent, 10 min, film performance<\/strong><\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n<p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[31],"tags":[32,11],"class_list":["post-858","post","type-post","status-publish","format-standard","hentry","category-expanded-cinema-2004","tag-dortmund","tag-expanded-cinema"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/858","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=858"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/858\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}