March 24th - Kurant Kino Presents: Trope Raiders & Moderation

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Kurant Kino Presents: Trope Raiders & Moderation

Saturday the 24th of March - Starting at 19:00

Kurant Kino presents two curated programs by Kurant and Sarah Schipschack:
-7pm: Trope Raiders, a program with artist´s moving images.
-8:30pm: Moderation by Anja Kirschner

Please note that we are at Tromsø Kunstforening!

TROPE RAIDERS

Kurant Kino presents a programme of six artists. The works consciously manipulate the forms of cinema as an act of revelation, while joyfully and willfully participating within its frame. The audience is submerged in the moving image as it is consistently being unveiled that they are partners in crime in the cinematic experience.

- HDHB -
Corin Sworn, Charlotte Prodger, UK, 2011, 9.46min

Cinema may be dying but aspects of its experience are ubiquitous- its echoes are found in having ones hearing tested in a soundproof booth or sitting at the kitchen table watching a downloaded film.Often, when a film is re-shot in a cinema illegally it is at an oblique angle and some of the image is lost. HDHB uses this re-framing and compression to critique hierarchies of image quality. It suggests industrial modes of calibration as a process of sensory normalisation.

- Phantom Avantgarde -
Mark Aerial Waller, UK, 2010, 8.20min

Phantom Avantgarde is made up of collage elements, photocopied and enlarged to life-sized scale from a selection of key films of the cinema of existentialism, as well as images of Parisian intellectuals of the mid 1960s. Once removed from their historical cultural reference, Waller reconfigures the cut out figures as a parade of mummified bodies, narrated through subtitled text from Louis-Ferdinand Célines novel, Journey to the End of the Night.

Phantom Avantgarde is a development of Mark Aerial Wallers ongoing interest in the historical positioning of culture; that mythologised archival data can coexist between the reconfigured present and its original home.

- Monolog -
Laure Prouvost, UK, 2009, 12min

Laure Prouvost parodies her own role as a director, and our role as an audience, as she directs attention to the screening space itself.

- The Crystal Gaze -
Ursula Mayer, UK, 2007, 8min

In The Crystal Gaze three women occupy the art deco rooms of Eltham Palace in London. “…What they articulate is the fact of their own bodies-become-images, exquisitely fragmented and reflected in the metaphor of our and their crystal gazes. As the opening bars of Peggy Lee’s Is That All There Is? are played and they break into tragic-comic song the message is both high-camp relief and the damnation of a fascination with the screen. What they embody is something like a distillation of Cinema: neither history nor biography, but quite simply the unbearable seduction of an image that we cannot enter but from which we can neither escape.” Ian White.

- Gesture Pieces -
People Like Us (aka Vicki Bennett), UK 2013, 15.43min

Soundtracks by: Andrew Sharpley (00:06) | Matmos (01:02) | Wobbly (05:08) | Gwilly Edmondez (07:48) | Dave Soldier (09:38) | Jason Willett (11:02) | Ergo Phizmiz (13:23)

Gwilly Edmondez, Matmos, Ergo Phizmiz, Andrew Sharpley, Dave Soldier, Jason Willett and Wobbly each composed a score for a chapter of GESTURE PIECE, without any knowledge of who else was collaborating on the project or what the rest of the film would look or sound like.

The completed film stitches back together the seven chapters with their individual soundtracks, creating new connections between apparently unrelated film sequences. The result is a fascinating and witty reinterpretation of familiar film footage, with scenes arranged in surprising and often very funny combinations.

- And Yet.. Part Two: WTB -
Jeremy Welsh, UK, 1992, 12min

One piece of a series of three works within which are woven together between philosophy and aesthetics, between images that reflect the world and worlds that are reflected in the image, between our perception of nature and our evolution through ever more synthetic stages of urban development.
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- Moderation -
Anja Kirschner, 2016
149 mins, Format: DCP / HD video

Moderation, set in Egypt, Greece and Italy, revolves around a female horror director (Maya Lubinsky) and a screenwriter (Anna De Filippi), whose latest collaboration is haunted by encounters with its ‘raw material’ and the escalation of conflicting desires.
Faced with the disintegration of their project, the director becomes more and more drawn into conversations with the actors she has cast (Aida El Kashef, Michele Valley and Giovanni Lombardo Radice), which reflect on the way horror traverses the affective and material realities of their lives on and off screen.
Much of the film is shot handheld, combining low-fi special effects with HD camcorder, Skype and mobile phone footage in order to heighten the sense of immediacy and interplay between fictional, factual and genre elements.
In line with certain tendencies in horror cinema from cold-war Europe, Infitah-era Egypt and post-junta Greece, lived experience is neither naturalistically represented nor is it sublimated by recourse to the irrational. Rather, the ‘irrational’ is used to externalise and to de-subjectify what ‘haunts’ the protagonists, in order to reground the possibility of rational agency operating at its limits.