Program 2 DISMANTLING FILM
Working in direct contact with film brings with it a reflection on cinema and its devices. In this session we will see a series of ingenious allusions to cinema, the functioning of its own machinery and mechanisms made film. From the functioning of the projection, the lights and shadows, to the allusions to the narratives and conventions of fiction.
ARM, FLEXION, EXTENSION (Bea Haut | 2011 | United Kigndom | 16mm | 2 min.)
FUGUE. A LIGHT’S TRAVELOGUE (Els Van Riel | 2017 | Belgium | 16mm | 29 min.)
A PROPOSAL TO PROJECT IN 4:3 (Viktoria Schmid | 2016 | Austria | 16mm | 2 min.)
AS YOU ARE COMING CLOSER (Markus Maicher | 2017 | Austria | 16mm | 3 min.)
AFFUMS (Astrid de la Chapelle | 2020 | France | 16mm | 7 min.)
THE ACTION (David Matarasso | 2012 | France | 16mm | 4 min.)
INSTANT LIFE (Anja Dornieden, Juan David González Monroy, Andrew Kim | 2022 | Germany | 16mm | 26 min.)
Total runtime: 77 min.
LONG LIVE ANALOG RESISTANCE!
If we are deprived of the means of production, we have no choice but to appropriate them.
This seems to be the philosophy behind the network of artist-run laboratories, which since
the mid-1990s have been spreading around the world in response to the withering
disappearance of commercial laboratories. Defending their right to continue exploiting the
aesthetic and ethical properties of celluloid, this analog resistance has left a trail of dazzling
works in super 8 and 16mm (among other formats) of which here we offer a brief sample.
Films that can only be made by hand and in an artisanal way, and of which the maximum
splendor is clearly projected in their original formats. These are the spearheads, coming
from punk and DIY, of a movement that has seen the growth of independent 16mm
productions, supporting the loyalty to celluloid of filmmakers like Tarantino or P.T. Anderson,
and the 23 million posts on Instagram under the hashtag #filmisnotdead. Beyond nostalgia,
creations and projects coming from a present that claims as its own the artistic and plastic
possibilities of the original material of cinema.
Featuring work developed in the following laboratories: Film in Process (London, UK),
MIRE (Nantes, France), Átomo 47 (Porto, Portugal), Cráter Lab (Barcelona, Spain),
Filmwerkplaast (Rotterdam, Netherlands), Labor Berlin (Berlin, Germany), L'ABOMINABLE
(La Courneuve, France), MTK (Grenoble, France), LABO BXL (Brussels, Belgium), Filmkoop
Wien (Vienna, Austria), KLUBVIZIJA ZAGREB (Zagreb, Croatia), L'ETNA (Montreuil, France), Filmverkstaden (Helsinki, Finland), Baltic Analog Lab (Riga, Latvia), Zine Lab (San
Sebastian, Spain), Cherry Kino (traveling lab) and LABBÀSH (Milan, Italy).
