Buika "Sueño con ella"

se me rompe la voz

Eleccions Catalanes 2012 - Cap a la independencia?

Catalan elections 2012.

I encara hi ha més vots en blanc que nuls, aqui la penya no s'entera, vull pensar.

Artur Mas, espero que demà no comencis amb més retallades al sector de la sanitat, tot i que en teoria els teus futurs amics d'iniciativa, CUP i ERC no et deixaran... o si? O no? O que passa? Ai, no ho tinc molt clar, ens ho podrieu dir de forma concisa?

CUP, per l'amor de deu, insisteix una miqueta més amb la politica dels lloguers que sino privatitzarem nosaltres els carrer.

Joan, carinyo, posa't una miqueta més serio que sembla que ningú t'escolti, potser si contactessis amb l'assistent d'imatge de l'Alicia el parlament t'alçaria el braç en entrar.

I metres tant, tots plegats, IN INDE INDEPENDENCIA.

La Mort.

Renovació completa del jo.

"Ai Mi!" Screening

Screening Programme for kunstvlaai, Amsterdam

SAT 24.11.2012
19:45 WORM.FILMWERKPLAATS: HAND-MADE 16MM FILM PROGRAM

Initiative: Worm.filmwerkplaats

Location: Doubling Time (Artists' cinema)
Time: 19:45 - 21:00

Screening with a conversation between Worm.filmwerkplaats and Kunstvlaai curator Fleur van Muiswinkel

Esther Urlus, Deep Red (7:00)
Deep Red is an investigation into additive colour mixing on film. Handmade by a d-i-y silkscreen printing technique. Starting point are on black and white hi-con filmed trees shorn of their leaves. As if they're the reminiscent of branches seen flashing past in the night from the back seat of a car. Transformed into thirty six layer deep technicolour.

Klara Ravat, Ai Mi (1:30). Direct animation with printer sticker sheets taped direct on transparent film. A transfer of poses on Renaissance paintings.

Ferenc Sebök, Gebouwen (2:00). Made during a workshop by Tony Hill (UK). The workshop was about building (DIY) tools to get special effects. The film is made animation wise frame by frame. Going from far left 1 frame to far right 1 frame.

Daan de Bakker, Pinhole (5.:00). Daan make's camera films.All effects are in-camera effects. Shown are two films shot pinhole style: The camera has no lens, just a tiny little hole in a piece of tin-foil. Including some double exposure with different coloured filters in front of the pinhole.

Joost van Veen, Interlude (2:45). Originally shot on Super 8 in the Rotterdam zoo for a filmwerkplaats installation project. Blown-up to 16mm using cheap high contrast b/w material, treated with a no longer available Tetenal photographic kit officially made for reversing photographic papers; used on film, it does weird things. This film is entirely made in the filmwerkplaats; first Joost made a sound negative on our special printer, put this undeveloped material into the optical printer (J-K) and refilmed his material. The film was ultimately developed as b/w positive. It therefore only runs 2.30 minutes: the maximum we can hand-develop in a 30 meter tank. The film won the first price at the Rotterdam Film Festival.

Esther Urlus, Idyll (6:00). Using a printing technique in which negative and positive are printed on the same  piece of color material. The originals are black and white. Esther has been working for several years on color films based on original b/w footage, reinventing old film techniques from the beginning of (analog) film where color only could be created with experiments on b/w.

Dirk de Bruyn, Bridges (4:00). Australian artist Dirk de Bruyn knows how to make “cinema without costs”. Since there is few 16mm equipment available for artists in Australia (everything has to be shipped in and is therefore costly), he buys "found footage" from Ebay, bleaches away the original image  and makes direct animation-style films using tape, ink, stamps etc.

John Price, Portraits Project (2:00). Made for the “Starting from Scratch” program of the Rotterdam Film Festival in 2008. Filmmakers were invited to make a portrait of fellow filmmakers on 16mm. John created a self-portrait in his Rotterdam hotel room. Working as a camera operator for commercial film productions, he always shoots his work on left-over materials from his regular jobs or cheap print material that is not meant to be used in a camera. He always films subjects close to himself, using in-camera editing and hand processing. He could be called an obsessive  filmmaker who mostly sees the world through his camera’s viewfinder.

Lichun Tseng, Grass Tree (2:00). Shot on high-contrast b/w material to reach the extremes of black and white. All effects like double exposures and dissolves were done in-camera (on a Bolex wind-up).

Ingrid van den Boogaard, Providence (1:30). The negative of this film, shot during a camera try-out workshop, appeared to be a completely black. After scratching it so that it would gain at least some kind of visuals, the positive print came out with a romantic image that had been seen by the camera, latent on the footage, but too dark on the negative. An example of the enormous flexibility of film.

Helene Martin, Running Time (6:30). Made entirely in the darkroom with no equipment whatsoever except a torchlight and some color filters. Found footage originals. Won the jury prize at the $100 Film Festival.

Jutu van der Made, Pony Girl/NYC (pinhole film) (3:00). Made with Robert Schaller’s pinhole camera; a camera made from scrap materials. Jutu got obsessed with this DIY camera and has begun to make a whole pinhole film oeuvre.

Peter Max, Zeebra (2:00). Mathematical composition of a street crossing, with a certain number of frames filmed forward and some frames filmed backwards so that superimpositions appear.

Christelle Gualdi, Color Writing Me Out (6:30). The soundtrack is from her close friend’s band. The film is made by freaking with our optical  (J-K) printer late at night. Good that I wasn't there because it looks like she quite mishandled our precious printer. The original footage she used is from a film by Joris Ivens, a Dutch master of film. The film was found in the garbage.

A veces no soy yo.

Recently I found my-self in a incontrolable situation, a rush of emotions and identity which was no longer in me, however, the situation around me transported me back at least 15 years in the past, and made me be who I was, or maybe just feel how I was. I did not like this expirience at all, I felt force to behave as it was expected, I felt trap in a past which is no longer part of my reality, some clouds of childhood. The funny part comes when I suddently managed to understand the rol of all of us. At that point I tryed to brake through it, I'm no longer the shy girl who keeps her self appart. I'm not sure if it worked. Somehow I remember being very arrogant and still the same porpouse, delimitating another cloud around me.

Anyways, things are changing, and those are good news.

Eija-Liisa Ahtila. If 6 Was 9 (1995)

Great piece.

cybertrash

I found my Cyberpunk complements for the ArtScience party but not yet the cyber.

ups

Fast Tank Spiner.

My heart will never be

Presentació

Opening "Que pensar" @ CaixaForum Barcelona.

nowhere trip

El viaje a ninguna parte.

muaaaa

Fascismo absoluto con chantaje emocional, paseito al mar depsues de la comida en un chino con mi primer regalo como obra artística (Marina, es la meva primera obra per una llarga col·lecció, espero poder tiar en un futur ;) ),  una super video-art piece en defensa de la natura com a algo brutal sobre l'èsser humà, us recomano veure tota la expo "que pensar" al caixaForumBarcelona, molt bona. Espectacle de'n Luis Pardo, Yaiza mi super doctora i el pis modernista de les rambles. 

Barcelona I love you.

# The meaning of analog (celluloid) film today #

Just two weeks before this text was written, the last professional 16 and 35mm cine film lab of the Netherlands, Cineco, went out of business; and of the last two mass manufacturers of film material, Kodak and Fuji, the first is in a bankruptcy process and the second is discontinuing all its cine film stocks. With the exception of film museums and micro cinemas, all Dutch movie theaters have switched to digital projection and - in most cases: literally - scrapped their 35mm film projection equipment. All of the above happened in only one year, 2012. As with all revolutions, whether they are political, economic or technological, there has been a long latent phase (with the end of film predicted as early as in the 1970s), which led many people to dismiss the prophecies as scaremongering or hypes, until change suddenly happens, overnight. 

For mainstream narrative filmmaking (just as for mainstream photography, literary writing and music), the medium has to be as invisible to the audience as possible. Over the course of one century, 35mm film technology had been optimized to look clean, and even today films undergo noise filtering, image stabilization and retouching before they are mastered on DVD or broadcasted on TV, so that no film grain, jitter or dust hairs will be visible. For the film industry, it was logical to switch to digital cameras and projectors once they were good enough to provide a clean high resolution image combined with economic advantages. 

What is now happening to analog film is very comparable to what happened to paint after the invention of photography: mainstream portrait painters abandoned while avant-garde artists reinvented it as an experimental medium, celebrating it for its own intrinsic, non-mimetic qualities, embracing the unfiltered materiality of celluloid moving images.

Filmwerkplaats at WORM, Rotterdam, has been doing that for more than a decade, as a vital node in a global network of artist-run, do-it-yourself 8 and 16mm film labs (that includes, among many others, Labonimable in Paris, LaborBerlin, Nanolab in Australia and LabA in Athens). Producing film stock is rapidly becoming a domain of small manufacturers such as the remains of Agfa in Belgium, Adox in Germany and Foma in the Czech Republic; cutting the stock into 8mm and 16mm film has even become niche territory for boutique-scale companies. 

While avant-garde film from Man Ray to Stan Brakhage and film co-ops provided the point of departure for film labs, the death of analog mainstream cinema is propelling the DIY film labs into defining contemporary work with film, and preserving the medium. Some even experiment with making their own film stock. Analog film, in other words, has become an experimental medium (even in the last area where it's still being commercially marketed to consumers: plastic-camera "Lomography"). 

The beauty, and the appeal, of analog film to visual artists lies in its unmatched visual density (of structure, texture, gradation, colors) combined with extreme simplicity - films made with no-cost self-built pinhole cameras, for example, or without a camera at all. Admittedly, there is a danger of romanticizing the medium, while avant-garde filmmakers of the 1920s and 60s manipulated film material just in order to break it. On the other hand, the end of the film strip as an illusion machine frees the medium from its film industry baggage.

References:
http://filmwerkplaats.worm.org

http://www.filmlabs.org

Tacita Dean, Film, Tate Publishing, 2011

By Florian Cramer

ains

 

 

Los cumpleañeros, el taller, les amiguetes, els papis i els pudorosos, no puc queixar-me, no.

modernist black hole

@ Hangar

In the black modernist hole!