Kurant Kino presents: Nan Wang in Focus and T,O,U,C,H Aesthetics
Kurant Kino is pleased to announce two film programmes, ‘Nan Wang in Focus: Scapes and Places’ and ‘T,O,U,C,H Aesthetics’ at Garasjen.
Doors open 18.30
Nan Wang in Focus: Scapes and Places - 19:30
T,O,U,C,H Aesthetics - 21:00 - 22:00
Adress: Garasjen, Skansegate 4
Presented and curated by Polar Film Lab, ‘Nan Wang in Focus: Scapes and Places’, presents four works from moving-image artist Nan Wang, alongside a work by Makino Takashi. The screening will be followed by a conversation between Sarah Schipschack and Nan Wang.
‘T,O,U,C,H Aesthetics’ has been curated by Emmanuel Lefrant, director of Light Cone film archive, Paris, who will introduce the works, projected in analogue 16mm film and digital formats.
This event is a collaboration between Kurant Visningsrom, Polar Film Lab and Lightcone (FR).
19.30 - First Screening
Nan Wang in Focus: Scapes and Places
Generator, Takashi Makino,
2011 / Japan / 19min / music: Jim O'Rourke
Makino Takashi's source of inspiration, our place in the world and the universe, never seems to dry up in view of the never-ending flow of immersive films. Generator may well be the earthiest of his films so far, made as a reaction to the Fukushima disaster.
Dust-Poetry, Nan Wang
2014 / NL / 9min. / music Nan Wang
Dust Poetry is a 9 minutes film combined with 7000 frames of dust I have been collecting in my room, and 6 minutes long black and white analog 16mm film of small plants and insects I picked up from the garden. I always fascinated by the beauty of small abandoned physical materials, like dust, plants and insects, and try to imagine their memories and emotions. The recorded sounds of insect sing and wind blows among the plants used to simulate their language and poetry. The aim of this work is to use dust and sound as elements to construct another reality which beyond, however, reflects on our mediated fragmented noisy world.
Pareidolia, Nan Wang
2019 / NL / 11 min. / music: Michel Banabila
In Pareidolia, analog abstract patterns made on 16mm film are used as source material for finding similar figurative images, interpreted by an online search engine. Hundreds of these matching images were edited into abstract film clips, resulting in an exciting visual and psychological cinematic experience.
Liquid Landscape, Nan Wang
2018 / NL / 12 min. / music: Nan Wang
Microscopic worlds and macroscopic landscapes emerge from the liquid patterns. Together with a pulsating soundtrack, this film creates a sensory and psychedelic experience: a visual journey through mysterious landscapes.
This short film is a result of a two-year research on the aesthetics of liquid patterns. By using a mixture of liquid soap and film developer, rich visual patterns were created from the transit moments of when liquid hits the 16mm filmstrip.
A Sense Of Place, Nan Wang
2019 / NL / 8 min. / music: Michel Banabila
A Sense Of Place is a short film made with scanned images of transparent Adhesive Sticky Tape. The traces, marks, and imprints left on the tape were scanned and animated into a noisy moving image, overlaying with slow-motion footage from a platform from a train station. A mundane moment of time stretched into a poetic space where passenger's figure and movements reveal below the traces of the insignificant sticky tape.
Total duration : 59min
21.00 - Second Screening
Spanning from films made in 1968 till 2016, this film program is an attempt to approach the realm of touch. From eroticism (if not pornography) to sensuality, from the tongue to the hand, the films presented here show how experimental cinema tried to reveal the body and its secrets.
EXPRESSION OF THE SIGHTLESS, Jessica Sarah Rinland
2016 / b&w / sound / 25 ips / 7' 02
A blind man’s inquisitive hands explore a Victorian sculpture.
CLASSIC LESBIAN FILMS: DYKETACTICS, Barbara Hammer
1974 / color / sound / 24 ips / 4' 00
“Hammer’s films of the ’70’s are the first made by an openly lesbian American filmmaker to explore lesbian identity, desire and sexuality though avant-garde strategies. Merging the physicality of the female body with that of the film medium, Hammer’s films remain memorable for their pioneering articulation of a lesbian aesthetic.” -Jenni Sorkin, WACK! Art & The Feminist Revolution
TRYPPS #7 (BADLANDS), Ben Russell
2010 / color / sound / 25 ips / 10' 00
“Trypps #7 (Badlands) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell's unique investigation into the possibilities of cinema as a site for transcendence.” Michael Green, MCA Chicago
L'HOMME QUI LÈCHE, Christian Boltanski
1969 / 16mm / color / sound / 24 ips / 2' 30
« Two characters wearing masks, a woman and a man, both dressed, a bit like 'L'homme qui tousse', with rags and paper. The man, at the feet of the seated woman, who seems like a big doll, licks her whole body: close-ups show us the tongue, coming out through the opening of the mask, in his tireless excursion. » Dominique Noguez.
TESSITURA CALDA, Paolo Gioli
2013 / 16mm / b&w / silent / 18 ips / 7' 20
Feminine undergarments placed over a wooden tablet around which a film, itself impure, has been wound. Dissolving sexual fragments emerge. Whirling woven textures wrap around them.
UNDERWATER, Anja Czioska
1994 / 16mm / b&w / silent / 18 ips / 3' 00
I shot from the water holding my camera in hand. The film is projected upside down, so that you feel that I drink all the water around me. Some movies make me look like a dead person in the water, others show me trying to catch my breath.
THE COLOR OF LOVE, Peggy Ahwesh
1994 / 16mm / color / sound / 24 ips / 10' 00
"The last word in ready-mades, Peggy Ahwesh's THE COLOR OF LOVE ... is a slightly slo-mo, optical reprint of an obviously ill-treated '70s porn movie in which the chemical rot that's already eaten away the edges of the image threaten to censor it entirely. ... An ur-text for Ahwesh's work, THE COLOR OF LOVE is an almost Rose Hobart for the '90s." -- Amy Taubin, The Village Voice
T,O,U,C,H,I,N,G, Paul Sharits
1968 / 16mm / color / sound / 24 ips / 12' 00
'starring poet david frank whose voice appears on the soundtrack / an uncutting and unscratching mandala.' - P.S.
'merges violence with purity.' - P. Adams Sitney.
'Surrealist tour de force' - Parker Tyler.
Total duration : 55' 52
Nan Wang is an artist living and working in Rotterdam (NL). She researches the intersection between memories and technology, using both digital and analogue techniques and works in an abstract manner.
Makino Takashi (JP) is an artist and makes experimental films. He was educated in Cinematography at the Nihon University College of Art in Japan. In 2001, he served an apprenticeship with the Quay Brothers in London, during which he mainly studied film music and lighting. Generator (2012) won the International Film Festival Rotterdam’s short film competition. Makino regularly presents installations, screenings and performances worldwide at art venues and film festivals.
LIGHT CONE is a nonprofit organization whose aim is the distribution, promotion and preservation of experimental cinema in France and around the world.
LIGHT CONE's primary mission is the distribution of the works in its collection, in their original format whenever possible, to cultural organizations such as nonprofits, cinemas, museums, universities, galleries and festivals.
Emmanuel Lefrant lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see.
He is the director of, and a curator at, LICHT CONE, Paris.