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Marcus Bergner

film-screening-at-135-union-streetMadrigal linings and epigraphy in-situ of the film bio-box: A series of film screenings coordinated by Marcus Bergner for the west Brunswick Sculpture Triennial

All the films presented in these screenings subsume in one-way or another to the generic and familial label: experimental film. Expectations of difficulty and impenetrability are often associated with this label and the films that it is attached. Yet such expectations and responses are based on comparing these films to, and in opposition with, narrative and documentary film. This represents an essentially ineffective and misleading way of encountering these films. It is more effective to recognise how experimental film draws on elements of suddenness and contradiction to mimetically and mutinously evoke process of imagination and radical questioning usually not encountered in film. Madrigal and marginal at once, the aesthetic and artistic function of experimental film remains unrepentantly and actively directed towards providing an experience of immanence and uncertainty. A bio-box is an anachronistic or insiders term for the projection room or boxed in space within a traditional cinema, and from which the films are projected. For these screenings the bio-box takes over the entire screening space, and as such invites both imaginary and participatory feats of auspicium in-situ. A medley of Super8, 16mm, 35mm films and digital videos will be projected in industrial and domestic locations, and often outdoors. By bringing together an international selection of films unexpected connections and perspectives are intended. Many of the films have not been shown in Australia before and filmmakers have provided work especially for these screenings.

SUN 29th March, 8.30pm:  135 Union Street (outdoors)
Screening includes:
Perforce by Gianfranco Baruchello. 1968, 16mm, colour, sound, 12mins. Mythology and teleology combine within this legendary film. Since 1962, Baruchello has exhibited objects, films, paintings and performances extensively throughout Europe and America. With Henry Martin he produced the artist books: Why Duchamp, How To Imagine, Fragments of a Possible Apocalypse.
Australia by Ken Shepherd. 1964, 20mins, 16mm, b /w, silent. The warring state and statelessness in Coburg, Melbourne during the 1950’s. Ken Shepherd left Australia to establish and run with June Shenfield, the first Australian art gallery in France. Situated in Saint Denis, on the outskirts of Paris, Cannibal Pierce Gallarie mounted uncompromising and innovative exhibitions and publications throughout the eighties and nineties.
Le Mans by Andreas Wutz. (Dvd/16mm, b/w, sound, 8mins, 2003)  “About an extremely ambient feeling. A mixture of fear and elation, experienced during the loneliness of a night race (The 24 Hours of Le Mans, France).”
People Reading by Robin Plunkett. 1999, 35mm, colour+black/ white, sound, 20mins. Real time documentary about reading situations. Thought bubbles and thought music interlopes readers in the film with viewers of the film.
Quick Billy (reel two) by Bruce Baille 1967-70, 16mm, 17mins, sounds. This odd reel out of five other reels that make up this epic experimental film.  Thoreau or Rousseau meet Karl Dreyer and Billy the Kid. The other parts of the film consist of superimposed nature studies and sanguine diary footage of life on the farm.
Untitled by Doris Lasch and Ursula Ponn.  2003, super8, b/w, 3mins. Borges’s suggestion that “Reality is always anachronous” appears to be true within the view onto the location for the Battlefield of Waterloo. Currently Doris Lasch and Ursula Ponn are exhibiting: If you don’t create your own history someone else will @ Frankfurter Kunstverein 27th March to 31 May 2009.
Standard Time by Michael Snow and Joyce Wieland. 1967, 16mms, 9mins, sound. Muted home movie that includes zoological appearances.
BATHGIRLS ’84, by Janet Burchill and Jennifer McCamley. 1984, Super 8, colour, sound, 12minutes. “Bathgirls’ 84 is the staging of an encounter between Warhol’s Tub Girls and Genet’s Papin sisters………”
Birth of a Nation/Gerburt der Nation by Klaus Wyborny. 1973, 16mm, sound, colour, 67mins. Like his German contemporaries Polka and Kiefer, Wybong mixes cheesy histrionics with ironic forays into mythology and new narrative constructions. Based on the original Birth of a Nation with this version involving coruscating and anacoluthic snatches or leaps into wild colorization and poetic ruination.
Eye-Step by Dore O. 2000, 16mm, sound, 25mins. A collage of steps constructed around a phenomenology of  perception and of reality. Rebuilding notion of memory and anticipation as an intrinsic logic for the present moment.

SUN 5th of April 7 pm: Ocular Lab (indoors).
Warning: space is limited, book your seat by emailing wbst@osw.com.au
As a relatively high number of bookings have been received, a second screening may take place at 9pm if required on the night.
Screening includes:
Four films by Kurt Kren. 1960-1978, 16mm, silent, b/w and colour, 20mins. During the period these films were made Kren was involved in the Destruction in Art Symposium in London (1966), participated in documenta 6, lived and worked in Vienna and Texas. The films include: 2/60 48 Kofte aus dem Szondi-Test (1960, b/w, silent, 5min) relates to an early method of psychological profiling; 15/67 TV (1967, 16mm, 4mins, silent) Inexhaustibly intriguing construct for contrapposto and new perceptual plasticity. Adorno stipulated and Kren’s films and other film in this programme demonstrate: “what crackles in art works is the sound of the friction of the antagonistic elements that the art work seeks to unify.” 31/75 Asyl (1975, 16mm, col, silent, 9mins) Immanence and luminosity seasonally matted/ carved directly into the film coating.
Solidarity by Joyce Wieland. 1973, 16mm, colour, sound, 11mins.  The virtual and immobile flaneur and flaneuse of cinema spectatorship is enigmatically politicised by the direct and unfettered imagination of linguistic gesture. Wieland was a Canadian painter and experimental filmmaker whose innovative and original work in film is only recently starting to be fully recognised and considered.
Dante Quartet by Stan Brakhage. 1987, 16mm, colour, silent, 6mins. Virtuoso acts of calligraphy and pellucid like painting over the film surface and delivering a Dantesque system for closed-eyed visions and abstractive bacchanalia.
Light and Dark by Lindsey Martin. 16mm, sound, 12mins. (Separate film notes provided)

(Short Intermission)

All my Life by Bruce Baille. 1966, 16mm, colour, sound, 3mins. Cyclopean and ebullient slice or sluice of histrionic light. Atmospherically, architectonically and even chromatically connections can be made between this film and classical paintings like Triumph of Galatea by Carracci or Poussin.
Roll Film by Neil Taylor. 1998, 16mm, silent, colour, 10min.  In this film the Romanesque Bayeax Tapestry combines forces with Oskar Fischinger’s process based animations. The sculptor, Neil Taylor, develops a method of collusion and metamorphosis that kinaesthetically and graphically draws from the essential non-singularity, mutuality and performative energy of images.
O.K. by Moucle Blackout. 1987, 16mm, colour, sound, 5mins. Tactilely and errantly the film screen can also be a gripping device. Moucle Blackout is a photographer and founding member of the Austrian Film Co-Op. Has organised and participated in a wide range of feminist based exhibitions/ projects including: “Frauen sehen Frauen” in Salzburg, “Identitsbilder” in Bonn.
The Room of Chromatic Mystery by Arthur and Corrine Cantrill. 2007, 16mm, CD stereo sound, colour, 8mins. Colour separation film methods are explored to aesthetically measure and reconfigure the madrigal like nature of light and colour within cinema. This is the most recent film from these prolific film artists and long-term editors/ publishers of Cantrills Filmnotes.
Moment by Gregory Markopoulous. 1970, 16mm, colour, 7mins. Sixteen-century portraits by Lotto and Giorgione activated and included instants of transubstantiation and presence. Similar qualities and effects are provided in this cinematic portrait of the maverick English sculptor Barbara Hepworth (1903-1975).
Cuna Soma by Lee Smith. 2001, 16mm, CD sound, colour, 8mins. Lee Smith’s remarkable handmade and plaited films combine raw plasticity with a state of visual dynamism rarely encountered in cinema. Parallels and associations with the art and spirit of his namesakes, Jack Smith and Harry Smith, appear subliminally and compellingly recognisable within this film.  Music by the filmmaker and Piers Morgan.

SAT 11th April. 7.30pm: Anstey and Ashton (outdoors)
Please note: due to weather conditions and the end to day light savings this screening has been re-scheduled to start at the earlier time of 7.30pm. Also the screening of Baruchello’s Un Altro Giorno is brought forward in the program. Please bring warm clothing etc.
Screening includes:
Musical Four Letters by Marcus Bergner. 1989, 5mins, sound, colour. A cinema poeme of Mexican argot and four lettered musical words.
Un Altro Giorno by Gianfranco Baruchello. 2007, dvd, sound, colour, 42mins. Premier Australian screening. Using a series of interviews to reveal the exilic “reality” of being in prisons in Rome and Lazio. To do time involves the production of subjectivity from the immeasurable void and blankness of time itself. It requires, as the prisoners explain, recomposing and reconstituting oneself through one’s own stories. Imaginative acts of resistance counter biopolitical structuring of temporality both in prison and in society generally. The Italian poet Emilio Villa writes: “…It is in the word of the world this fruit that moulds you/ that flays you that invents your story” […e nel mondo del mondo questo frutta che ti plasma/ che ti scortica che ti inventa la tua storia… Omaggio ai sassi di Tot].
Seeing As by Esther Stocker (dvd, silent, b/w, 1min, 2001) Disconcerting moment of aspect dawning: “Die Lautbildung erfolgt […] gelentlich auch bei Einatmung (inspratorische Laute)” [trans: Articulation also occasionally occurs […] when inhaling (inverse sound)- Anjar Utler Marsyas Encircled.]
Fear by Tony Woods. 1996, Super 8, colour, 14mins, sound. Two films divided by a thirteen-year apercu come together as the movie camera becomes a sketching machine and ground on which painting is fused with film.
Unter Schulzathmosphere verpackt by Doris Lasch and Ursula Ponn. 2001, Super 8, 3mins, silent, colour. Motioning and furnishing acts of apperception. “Thought is the mask of unthought: it dresses up in a form that itself disputes the finished.” Bernard Noel (Chemin de ronde)
A Dead Fly is worth more than Gold by Paul Rodgers. 1990, 16mm, 1min. Paean action flick or rout for extraordinary and immeasurable element of existence. Made for BBC Television (UK).
INLAND EMPIRE (Solar Neon) 21/06/08 by Janet Burchill and Jennifer McCamley. 2008, dvd, 2.32 mins. “During a residency in Kellerberrin, Western Australia we made a solar-powered neon, Inland Empire: light from light. As the sun went down, the light from the neon appeared brighter. The duration of the event was determined by the amount of energy that had been collected by the solar panels during the day. This is a time-lapse video of that sculptural event.”

(Short Intermission)

Caryatid Row by Andreas Wutz. 2008, dvd, colour, sound, 14mins. The habitual world in parallel to the world of reading. Cannery Row brought to the Prague of caryatids and its golden sands.
Blond Barbarei by Dore O. 1972, 16mm, 25mins, sound, b/w. “A film for the liberation of sensuality a film against the hospitalism of society.” Architectural and atmospheric dismantling of spatial and perceptual reference points in the cinema process extending and interacting with the screening situation itself.
Untitled by Doris Lasch and Ursula Ponn. Colour, silent, 2mins. A filmic masquerade framing the arbitrariness and collapsibility of space within of  the urban landscape. For more about these artists see: “When the story finishes light sadness grasps me” from www.janvaneyck.nl
223 by Dirk de Bruyn. 1985, 16mm, colour, sound, 5mins. Purloining and gluing together a mise en abyme of film frames so meteorically and fragmentally screen memories and other oceanic evocations become the in-between.
The Museum and Library Workers Film Society by Frank Lovece. 1991, dvd, colour, sound, 20mins. In New York they’re called micro-cinemas, and here they are called film societies.  This is an edited-in-the-camera and fly on the wall documentary with improvised and performative use of the movie camera much like the autobiographical and experimental videos of the American photographer Robert Frank. It documents a night in the life of a film society dedicated to showing experimental and artist made films and takes place in the historic but now demolished original cinema at the State Library of Victoria.
An Accompaniment to a Cinematographic Scene by Arnold Schoenberg by Jean Marie Straub and Daniele Huillet 1972, 16mm, sound, b/w, 17mins. “What interests us is how the text is embodied in human beings, dialogues, not the plot.” – Straub and Huillet in conversation with Francois Albera, Paris, 2001.

Notes.
– Thanks to: OSW, Ettore Sirucusa, Neil Taylor, Paul Rodgers, Piers Morgan as well to the filmmakers for generously providing film prints for these screenings.
– Screening Two in memory of Lee Smith. “…Une encore, translucide comme l’arconsom. Que l’on s’enchassera dans l’oeil d’un geste elegant…” […And something else, translucid as the sunbow/ Which people will screw into their eye with an elegant gesture…] -Boris Vian (Un Jour).