Art Cinema 1Expanded Compositions

Art Cinema presents four new film nights in Club Solo. Godart Bakkers and Erwin van ‘t Hart put together a series on films that question or want to redefine the medium of film.

Friday 2 July,  20.00 uur
entrance 19.30


filmavond 1
Expanded Compositions

For some filmmakers, the film projector is not only an instrument for screening films, but also an instrument in a literal sense, a medium with which you can manipulate and generate meaning.

Programme:

Introduction by Godart Bakkers

Katja Mater, Searching for White, NL, 2009, 16mm, 2’
Katja Mater, Composition of Light, NL, 2013, tilted 16mm, 4’27”
Bill Brand, Circles of Confusion, VS, 1974, 16mm, 15’
Daïchi Saïto, Never a Foot Too Far, Even, CA, 2012, 2 x 16mm, 14’
Floris Vanhoof, The Mirror Egg, BE, 2021, 2 x 16mm, 15’
Floris Vanhoof, Strepen, BE, 2018, 2 x 16mm live performance, 10’

The programme ends with a live performance by Floris Vanhoof. Katja Mater will also be present on this evening.


Club Solo

Kloosterlaan 138, Breda, entrance 19.30.


go to facebookevent


Katja Mater, Searching for White
NL, 2009,16 mm, 2′

In the film Searching for White, Katja Mater is in search of absolute white. She bases her search on Newton’s theory of colour and light. Newton discovered that white light is composed of different colours that can be made visible through refraction in a prism. He shows that colours are not created by the interaction of light and darkness, but by the bringing together and mixing of all colours. You would think that all the colours together would give a sort of mud-brown colour, but Mater uses film light to show that this mixing produces a bright white.


Katja Mater, Composition of Light
NL, 2013, tilted 16mm, 4’27”

In Composition of Light, Mater reverses this process. Light is now the image-maker. By refracting white light with a prism and using the split colours of the different wavelengths in new arrangements, she builds up different compositions in the 16mm film. With the properties of light and film, and with the projector as an instrument for creating images, she achieves a middle ground between information and interpretation.


Bill Brand, Circles of Confusion
USA, 1974, 16mm, 15’

In Bill Brands Circles of Confusion, circles of coloured light – red, green and blue – pulsate and flicker as they move through the image. Where they intersect, they exhibit a variety of secondary colours. The term ‘circles of confusion’ comes from physics. Brand is concerned with the focus of the light source, with mental and emotional energies that, like an irrational system, determine the composition of a film. Circles of Confusion is part of Brand’s film trilogy Acts of Light. Together, the films form a study of pure colour, based on the notion that film is essentially change, not movement.


Daïchi Saïto, Never a Foot Too Far, Even
CA, 2012, 2 x 16mm, 14’

In Never a Foot Too Far, Even Daïchi Saïto uses a piece of 35mm kung-fu film that he endlessly breaks up and repeats. The film is projected onto one screen via two 16mm projectors. An obscure figure finds himself on a forest path, caught between movement and standstill. Picturesque images fluctuate in complex shifts of colour and texture. Because two images are brought together in one projection, the film itself and the experience of it are never the same. Coincidence, the concentration of the audience and the skill of the projectionist contribute to the success of the film.


Floris Vanhoof, The Mirror Egg
2021, 1 x 16mm, 15’

Prior to his performance, Floris Vanhoof will show his latest film The Mirror Egg, which he made during the lockdown. In it Vanhoof shows the regularity of daily working from home. The world in a miniature sitcom-like film set in which something different can happen every day. Besides ‘fiddling’ with his film set indoors, he takes daily walks with his camera. Just like the inhabitants of his film set, the maker himself ends up in absurd situations from which he creates a stream of images.


Floris Vanhoof, Strepen
2018, 2 x 16mm live performance, 10’

Vanhoof’s film Strepen is a mechanical spectacle that can only be performed ‘live’. Vanhoof uses two strips of film only one metre long, which he plays in a loop. He uses the projector as an instrument, in which he uses simple filters to make the image constantly change colour. Endless variations create a special focus for the artist and the audience; a concentrated way of looking, listening and storing memories. Rooted in minimalism, structural film and electronic music, this performance plays with our perception and experience of the luminous flat surface.


Agenda Art Cinema 2021

Film Night 2: Freem
Date: Sunday 24 October, 15.00
With films by Karel Schmeink, Tajiri, Johan van der Keuken, Len Lye, Hy Hirsch and Rosa Barba.

Film night 3: Wavelength
Date: to follow
With films by Michael Snow and Juan David Gonzalez Monroy and Anja Dornieden.

Film Night 4: Zorns Lemma
Date: to follow
With films by Hollis Frampton, Joyce Wieland and Mary Helena Clark.

Trailer

Art Cinema presents four new film nights in Club Solo. Godart Bakkers and Erwin van ‘t Hart put together a series on films that question or want to redefine the medium of film.

Friday 2 July,  20.00 uur
entrance 19.30


filmavond 1
Expanded Compositions

For some filmmakers, the film projector is not only an instrument for screening films, but also an instrument in a literal sense, a medium with which you can manipulate and generate meaning.

Programme:

Introduction by Godart Bakkers

Katja Mater, Searching for White, NL, 2009, 16mm, 2’
Katja Mater, Composition of Light, NL, 2013, tilted 16mm, 4’27”
Bill Brand, Circles of Confusion, VS, 1974, 16mm, 15’
Daïchi Saïto, Never a Foot Too Far, Even, CA, 2012, 2 x 16mm, 14’
Floris Vanhoof, The Mirror Egg, BE, 2021, 2 x 16mm, 15’
Floris Vanhoof, Strepen, BE, 2018, 2 x 16mm live performance, 10’

The programme ends with a live performance by Floris Vanhoof. Katja Mater will also be present on this evening.


Club Solo

Kloosterlaan 138, Breda, entrance 19.30.


go to facebookevent


Katja Mater, Searching for White
NL, 2009,16 mm, 2′

In the film Searching for White, Katja Mater is in search of absolute white. She bases her search on Newton’s theory of colour and light. Newton discovered that white light is composed of different colours that can be made visible through refraction in a prism. He shows that colours are not created by the interaction of light and darkness, but by the bringing together and mixing of all colours. You would think that all the colours together would give a sort of mud-brown colour, but Mater uses film light to show that this mixing produces a bright white.


Katja Mater, Composition of Light
NL, 2013, tilted 16mm, 4’27”

In Composition of Light, Mater reverses this process. Light is now the image-maker. By refracting white light with a prism and using the split colours of the different wavelengths in new arrangements, she builds up different compositions in the 16mm film. With the properties of light and film, and with the projector as an instrument for creating images, she achieves a middle ground between information and interpretation.


Bill Brand, Circles of Confusion
USA, 1974, 16mm, 15’

In Bill Brands Circles of Confusion, circles of coloured light – red, green and blue – pulsate and flicker as they move through the image. Where they intersect, they exhibit a variety of secondary colours. The term ‘circles of confusion’ comes from physics. Brand is concerned with the focus of the light source, with mental and emotional energies that, like an irrational system, determine the composition of a film. Circles of Confusion is part of Brand’s film trilogy Acts of Light. Together, the films form a study of pure colour, based on the notion that film is essentially change, not movement.


Daïchi Saïto, Never a Foot Too Far, Even
CA, 2012, 2 x 16mm, 14’

In Never a Foot Too Far, Even Daïchi Saïto uses a piece of 35mm kung-fu film that he endlessly breaks up and repeats. The film is projected onto one screen via two 16mm projectors. An obscure figure finds himself on a forest path, caught between movement and standstill. Picturesque images fluctuate in complex shifts of colour and texture. Because two images are brought together in one projection, the film itself and the experience of it are never the same. Coincidence, the concentration of the audience and the skill of the projectionist contribute to the success of the film.


Floris Vanhoof, The Mirror Egg
2021, 1 x 16mm, 15’

Prior to his performance, Floris Vanhoof will show his latest film The Mirror Egg, which he made during the lockdown. In it Vanhoof shows the regularity of daily working from home. The world in a miniature sitcom-like film set in which something different can happen every day. Besides ‘fiddling’ with his film set indoors, he takes daily walks with his camera. Just like the inhabitants of his film set, the maker himself ends up in absurd situations from which he creates a stream of images.


Floris Vanhoof, Strepen
2018, 2 x 16mm live performance, 10’

Vanhoof’s film Strepen is a mechanical spectacle that can only be performed ‘live’. Vanhoof uses two strips of film only one metre long, which he plays in a loop. He uses the projector as an instrument, in which he uses simple filters to make the image constantly change colour. Endless variations create a special focus for the artist and the audience; a concentrated way of looking, listening and storing memories. Rooted in minimalism, structural film and electronic music, this performance plays with our perception and experience of the luminous flat surface.


Agenda Art Cinema 2021

Film Night 2: Freem
Date: Sunday 24 October, 15.00
With films by Karel Schmeink, Tajiri, Johan van der Keuken, Len Lye, Hy Hirsch and Rosa Barba.

Film night 3: Wavelength
Date: to follow
With films by Michael Snow and Juan David Gonzalez Monroy and Anja Dornieden.

Film Night 4: Zorns Lemma
Date: to follow
With films by Hollis Frampton, Joyce Wieland and Mary Helena Clark.

Embed HTML not available.