3 x 2³

Lumière, Le Cinéma!

In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.

Invocation of the Memory of Mary Turner, lynched on May 19, 1918

A stasis work invoking the memory of the lynching of Mary Turner, a young, pregnant African American woman in South Georgia. Publicly demanding justice after the murder of her husband, Turner was kidnapped by a mob, hung up in a tree, set on fire, her child cut out and killed, and shot hundreds of times before being buried on-site in 1918. Returning to the origins of cinema, filmed on the exact date and time of Turner’s lynching 105-years earlier, # 3 uses form, time, light, shadow, and landscape as metaphor to not only invoke the memory of Mary Turner, but to also ponder perspective relating to racial violence, violence against women, our failure to acknowledge our past, and the racial divide that continues to exist today in the schizophrenia of America life.

Dreams of the Past

A film about peace, love and war. Dedicated to the 100th anniversary of the end of the Civil War in Russia. The film takes place at the end of the summer of 1917, when Russia and the whole world were at a crossroads between two eras. None of the people could even imagine how much his life would change in the very near future. In a strange way, the atmosphere of the film echoes our current reality and what is happening in Russia today. According to the form of visualization, the film belongs to experimental mockumentary cinema. To give greater authenticity to what is happening on the screen, the shooting was carried out on black-and-white negatives of 16 and 35 mm, hand-operated cameras were used and the material was developed in manual spiral tanks. The documentary chronicle of the Kolchak army of 1919 and the White army in the Far East of 1922 is embedded in the finale of the film.

Insistir

A documentary about the sea and memory. Its movement is its form. Its strength.

Elétrico Magnético

My Postcard Collection

Heather McAdams documents her extensive postcard collection to the tune of Hank Snow's "I've Been Everywhere"

Amor

Landscapes revealed themselves through text, paper through movement, while the sun gave them relief. This is a journey across found words, enunciating a discovery, their textures constructing the sea and the waves, in a travelogue from the first exploration, the first step over the sand towards the shore. “Amor” writes this joy to underline it in its time, captured on paper. This film has been composed through a scanner, and it’s the first chapter of the “Reír al Sol” series.

A Love Letter to Cinema

An experimental sampled film which shows the pleasurable art of movies about movies through scenes inside of theaters.

火藥, burn my eyes

In 1967, Beulah struck Reynosa. Family survives through images from memory circling the wreck. Rituals of celebration and violence like hurricane, shift between dancing, cyanotypes, blue fire and lost family archive. We have come to see the damage that was done and the treasures that prevail. Thus invent colors that burn the eyelid like 火藥.

The Scratchman

Scratched lines and shapes float around this footage of a military spokesperson

A Coyote Walks

A coyote walks through a distorted reality without color.

Bailey's Blues

In 1960s France, a jazz musician becomes the subject of an impromptu documentary.

Nix

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Hydra

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Charon

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Fragments of a Revolution (Sahneye Tarikh)

An experimental film about narrations of two journal photos from Iran's revolution in 1979.

Nickel Boys

Chronicles the powerful friendship between two young Black teenagers navigating the harrowing trials of reform school together in Florida.

Shifting Margin Part 1

Shifting Margin Part 1 (1991) Produced, Directed, Photographed, and Edited by Albert Gabriel Nigrin Special Thanks: Brodsky and Treadway and DAK Productions Length: 3 minutes A statue of a horse [located in the Luxembourg Gardens in Paris, France] shot at 18fps on Kodachrome color super 8mm film transferred to high quality video. The film camera was shaken at various intensities to simulate the various forms of horse locomotion -- walk, trot, gallop, etc. The film is silent yet one hears the rhythm of hooves. The green color of the statue's faded bronze was amplified, as was the blue sky in post-production. A homage to Pegasus, Le Magnifique in Cocteau's Beauty and the Beast, and Eadweard Muybridge.---AGN

Não é Possível Garantir que Todos os Produtos Funcionem

Sistine Chapel

Sistine Chapel is an audio-visual collage of new footage and samples from Paik’s past videos, which featured many of his friends, collaborators, and public figures. It was Paik’s own way of summarizing his artistic career with video. The film installation consists of fast-paced and overlapping images that completely cover the gallery walls and ceiling—one of the most under-appreciated parts of architecture, according to Paik. With its electronic visuals and booming audio, interspersed with periods of silence, the immersive installation stands in stark contrast to the experience of its namesake.