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[Nettime-nl] Free video program at Smart Cinema: A Trap For The Looking,
SMART Project Space on Sun, 2 Mar 2003 20:50:01 +0100 (CET)


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[Nettime-nl] Free video program at Smart Cinema: A Trap For The Looking, Febr. 23rd / Apr. 2nd. 2003



A TRAP FOR THE LOOKING (Undermining the Overview, part 2)  From Februari 23rd until April 2nd, 2003.

Smart Project Space presents a free video program every Wednesday and Sunday at 17.00 hrs at Smart Cinema. Curated by Lee Ellickson

1st Constantijn Huygensstraat 20, Amsterdam. Info:+31-(0)20-4275951

 

This video program accompanies the exhibition "A Snare for the Eye", curated by Alice Smits.

Opening Saturday February 22nd,  21:00 hrs. Open from 22nd February until 30th March 2003.

 

February 23, Sunday and February 26, Wednesday, 17.00 hrs.

The Quay Brothers, "Dramolet (Still Nacht 1)"  (1998, UK, 1.5 min)  An unsettling curtain raiser to ponder what you see and what you get.
Georges Melies, "The Untamable Whiskers" (1904, France, 5 min.)  Visual transformations with the ease of drawing: Ce n'est pas un barbe!
David Lynch,"Hollywood" (1995, USA, 2 min.)  A one shot wonder in three parts:  documenting the shooting, the shot itself which defies you to imagine it as a single shot and the director's final comment.
Eleanor Antin, "The Last Night of Rasputin"  (1988, USA, 38 min.) Californian artist Antin's supreme "Antinova" achievement:  the recreation of a silent Russian epic that details the kidnapping and captivity of her mythic self.
Theo Angelopoulos, "In Which Foreign Country Have I Landed?"  (1995, Greece, 1.5 min.)  Odysseus is washed ashore and forced to ponder a new and confounding trap.
Georges Melies, "The Eclipse:  The Courtship of the Sun and Moon"  (1907, France, 10 min.)  Astronomers run wild with excitement at the prospect of capturing a unique event with the help of their trusty telescopes.
Hamish Fulton,  "Light Confrontation"  (1971, UK, 1, 5 min.)  The snare here takes the form of a flashlight.
Helma Sanders, "Hommage a Louis Cochet, chief electrician, artisan de la Lumiere depuis 1931..." (1995, Germany, 2 min.)  A symphonic tribute to Monsieur Cochet, he who harnessed the velvet light trap.
Fred Fishbeck, "A Movie Star" (1916, USA, 12 min.)  A self reflexive snare:  Keystone Cop Mack Swain is caught in a movie theater in the audience in front of one of his own films and reality continues to close the trap around him.
Rene Clair, "The Wax Museum Sequence"  (1925, France, 10 min.)  Another anarchic dream where the creatures of the Id animate wax figures who come alive to hold a tribunal to try a guilty dog.
Paul Leni, "Waxworks" (1921, Germany, 63 min.)  German expressionist benchmark set in the wax museum where the eye is under pressure to identify what is real and what may not be.



March 2, Sunday and March 5, Wednesday, at 17.00 hrs.

Tetsuo Mizuno, "A Stone"  (1984, Japan, 8min.)  To the activated eye a stone contains more than one can think. 

Abbas Kiarostami, "Message"  (1995, Iran)  Here is a witty wake-up call that you need not answer.
William Wegman and Man Ray, "Correction"  (1972, USA)  Man Ray learns the difference between a word that looks like another word and the word itself.
Andre Schwyn, "Enlightenment"  (2001, Switzerland)  The ceaseless desire to visualize what one attains.
Lina Wertmuller, "Prelude (to Pasqualino Setzebelieze)"  (1976, Italy, 5 min.)  Lina lets them have it and she's sure to give them enough rope while she's at it.  This is for all leaders and their images as well!
John Boorman, "Preparations for Shooting"  (1995, UK, 2 min.)  The traffic of the making of images and the images in the making.
Max Almy, "A Perfect Leader"  (1983, USA, 7 min.)  Another image is pounded out on the assembly line.
Joe Goodman and associates, "Now it is Time for all Good Men"  (1959, USA, 1 min.)  What was always called ‘paid political advertising’.
William Wegman and Man Ray,  "Now is the Time for all Good Dogs, or Which side are you on?"  (1971, USA)  The predicament of everyone open to a little persuasion.
Russell Calabrese, Doug Compton and Greg Ford, "No Substitute" (1996, USA, 1,5 min.)  Recognition of how tough it is for political figures to keep up the image.  Richard Nixon was no less than heroic in this contest.
Peter Callas, "Double Trouble"  (1988, Australia, 5 min)  Further consideration on trying to separate the one from the other.
Juan Downey, "The Looking Glass"  (1989, USA, 29 min.)  An incisive study that divides images from what they contain and what they may be.
Eva Staehle, "Zwischen (Between)" (1998, Switzerland, 3 min.)  Two simultaneous images of the world around us poses an elegant problem.
Mao Kawaguchi, "Tuelo"  (1985, Japan, 8 min.) 
The image of the terrain is subject to further division.  The terrain presented is that of Angola.
Guy Sherwin, "Filter Beds"  (1998, UK, 9 min.) 
Planes of focus that catch the eye and create a temporary space.
The Quay Brothers, "Rehearsal for Extinct Anatomies"  (1987, UK, 14 min.)  The visual planes subdivide into alternate focus and alternate knowledge.
Joseph Strick, Ben Maddow and Sidney Meyers, "The Savage Eye"  (1960, USA, 63 min.)  Documentary images burn through the consciousness of the somewhat fictional character presented here who finds herself the victim of a real life movie from which there is no escape.


March 9, Sunday and March 12, Wednesday, at 17.00 hrs.


Van Heusen and company, "In an Animation Studio" (1931, USA, 8 min.) An insider's view of the studio located just across the street from the much better known Fleischer Brothers studio that proves that the images were just as out of control here if not more so.
Max Almy, "Lost in the Image"  (1985, USA, 6 min.)  Where is the place for one who makes images by day and watches them by night?
Max and Dave Fleischer, "HA HA HA"  (1932, USA, 6 min)  Out of the ink well, onto the paper, off the paper and somewhere, elsewhere, way out there.
Peter Callas, "Night's High Noon"  (1988, Australia, 8 min.)  Here comes one big image show down,  so draw!
Rudolf Snafu, "Booby Traps"  (1942, USA, 5 min.) Wartime shenanigans that teach us to think twice.
A.C. Stephens, "Shower Scene"  (1968, USA, 5 min.)  One more booby trap.
Walter Williams, "Mr. Bill Gets Hypnotized"  (1975, USA, 2 min)  The little guy always takes it the hard way.
Ante Bozanich, "Alarm" (1980, Yugoslavia/USA, 10 min.) 
Another illustration, though the guy is not as little, he still takes it pretty hard.
Takashi Inagaki, "Fake Flicker"  (1985, Japan, 7 min.)  By now it becomes clear that it is in part a matter of too much exposure to television.
Jeannette Mehr, "Fernsehfilm"  (1999, Switzerland, 3 min)  Perhaps the television itself might take on another guise.                                                                                                

Michael Haneke, "Extracts from the Broadcast News of March 19, 1995, the birthday of the first film shot on March, 19, 1895"  (1995, Austria, 1 min.)  A centenary celebration of the first film shot ever taken.
Joseph Beuys, "Confrontations with the Television"  (1970, Germany, 6 min.)  Here is a battle which verges on the metaphysical.
Fritz Lang, "The 1,000 Eyes of Dr. Mabuse"  (1960, Germany, 99 min.)  The new old metaphor for our times:  total control and total paranoia.  Dr. Mabuse's name is popping up so frequently now it's time for another rash of sequels.

March 16, Sunday and March 19, Wednesday at 17:00 hrs.


Ante Bozanich, "Scratch"  (1980, Yugoslavia, USA, 6 min.)  First confront your maker.
Costa Gavras, "Shot"  (1995, France, 2 min)  Consider this image to be like a magnet.
Klaus vom Bruch, "Jeder Schuss ein Treffer  (Every Shot a Hit)"  (1984, Germany, 9 min.)  A typically relentless exercise that insists that you get the point even if it is only at the end of a stick.
Enrico Farrucci, "Movement from Camille Symphony"  (2000, Italy, 4 min.)  Another pointed exercise in  capturing the image, the moment of desiring or just obsession itself.
Alain Corneau,  "Hommage a Loie"  (1995, France, 3 min)  One way to skirt all those traps is just to keep dancing.
Georges Melies, "Tchin Chao, The Chinese Conjuror"  (1904, France, 5 min.)   More than meets the eyes, he takes them.
William Wegman, "Wide Eyed Story"  (1971, USA, 3 min.)  We won't spoil the story here.
Ante Bozanich, "Four Works to View"  (1974-1977, Yugoslavia/USA, 16 min.)  A movement from the image of the self to the image of the other and finding some way back again without slipping.
Ken Kobland, "Foto Roman"  (1990, USA, 26 min.)  Some noirish passing of time which leads to the inevitable trapping of the voyeur.
Enrico Farrucci, "Pretty Ugly"  (1998, Italy, 5 min.)  The voyeur's conundrum:  Is she crying or is she laughing, is this pleasure or is this pain?  Is it cruelty for her or cruelty for you?
Viktor Kolibal, "Eye"  (2000, Switzerland, 3 min.)  The weighing of opposing forces.
Andre Konchalovsky,  "It Doesn't Work, We Can See Only The Earth"  (1995, France, 1.5 min.)  The pressure brought to bear when stalking the great sublime.
Peter Callas,  "The Aesthetics of Disappearance"  (1986, Australia, 6 min.)  An unavoidable territory for the image trapper with Callas' signature layering of compulsive and restless images.
Douglas Davis, "Post Video"  (1981, USA, 29 min.)  This piss-in-your-pants funny explication of Davis' oeuvre may not be intended as a total send up of seventies concept art but it will do just fine, thank you.
Robert Fuest,  "The End of the Final Programme"  (1973, UK, 5 min.)  It's farewell to the sixties and the seventies and everything else but maybe it's just back to the drawing board.
Patrick McGoohan, The Final Episode of  "The Prisoner"  (1968, UK, 54 min.)  This was when all television time and space was flipped inside out once and for all and we haven't been able to stop living in it.  Will the final episode ever end?


March 23, Sunday and March 26, Wednesday, at 17,00 hrs.


Gabriel Axel, "Academic Study"  (1995, Denmark, 3 min)  One process simply begats another. There's the rub.
Danielle and Jacques Louis Nyst, "L'Image"  (1987, Belgium, 42 min.)  The Nysts are forever hunting the wild visual paradox and this charming essay leaves no image unaltered.
The Quay Brothers, "Anamorphosis"  (1991, UK,  15 min.)   A revealing of arcane knowledge in the process of image production and perception.
Danielle and Jacques Louis Nyst, "Hyaloide"  (1995, Belgium, 27 min.)  We delve deeper into the arcana of the voracious image.
Werner Nekes, "Film Before Film"  (1986, Germany, 83 min)  A thorough going tour through centuries of attempts to manifest an image with every kind of media imaginable.


 

March 30, Sunday and April 2, Wednesday, at 17.00 hrs.


Marcel Duchamp, "Anemic Cinema"  (1926, France, 3 min)  A roundabout way of coming to grips with the thing at hand.
M.C. Escher, "A Few Observations from Maurits Escher"  (1967, USA, 27 min,)   The master of the image trap explores his world and lets a thought or two wander freely.
Merzak Allouache, "Interdit de Camerer" (1995, Algeria, 1 min)  The Algerians have their own verb which is also an adjective.  Here a couple are "camered" and it doesn't pass without notice.
Georges Melies,  "Long Distance Wireless Photography"  (1907, France, 7 min.)  Here is another approach that one may not have thought of.
Peter Callas,  "Kinema No Yoru"  (1984, Australia, 3 min.)
Our own mental copy machine of double cinema where we subject the image to another image time and again.
Youssef Chahine, "Stop! 
Cinema is a sin!" 
(1995, Egypt, 3 min.) 
Though big images may reign, little images may strike back and really come out slugging.
Jean-luc Godard, "Scenario du film Passion"  (1982, France, 54 min.) 
Godard struggles with a scenario that has no words, only images, and seeks another way out of the usual trap of the images we perceive and take for granted.
Claude Lelouch, "More Passion Please!"  (1995, France, 1 min)  Some people just can't get enough.
Fletcher Markle, with Alfred Hitchcock, "Telescope in two parts"  (1964, Canada, 56 min.)  Another master of the image trap is given the last word here, on the set while shooting his masterwork of entrapment "Marnie".   This program was originally broadcast on Canadian television
.

SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const. Huygensstraat 20  
Opening times: Tues-Sat from 12.00-22.00, Sun from 14.00-22.00 hrs.
Mail to: P.O.Box 15004, NL-1001 MA Amsterdam
Phone: +31 20 427.5951
Fax.: +31 20 427.5953
mail:
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