1084 N MILWAUKEE, CHICAGO

HAND AND MACHINE

Recent 16mm Films by Richard Tuohy and Dianna Barrie
Filmmakers in attendance!

The Nightingale Cinema, 1084 N. Milwaukee
Wednesday, March 15th, 7:00 pm, $7-10

Cinema was the first inescapably mechanical art. But in this post-mechanical age, the traditional apparatus of cinema has all to rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines.

Post mechanical age, the humanness of the machine can be made evident. Post mechanical age, machine craft is the new hand craft. The Nightingale welcomes Australian DIY cine experimentalists Richard Tuohy and Dianna Barrie to present this program of seven recent film works exploring the primitive apparatus of cinema and the relation between hand and machine.

https://www.facebook.com/events/1280285592006760/

Program Details:

Blue Line Chicago
2014, 10 minutes, 16mm
Architectural abstractions of the second city.

Ginza Strip
2014, 9 minutes, 16mm
The Ginza of fable and memory. This is the first film I have finished using the ‘chromaflex’ technique that we developed. This is a very much hands on color developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white.

LUX
2010, 6 minutes, 16mm, Dianna Barrie
‘L’, ‘U’ and ‘X’ shapes in an inner urban industrial suburb captured on regular 8mm as the old ‘Lux’ stove factory undergoes conversion into more apartments than the brain can comfortably imagine. The rise and fall of industry, the rise and rise of apartments in a seething, pulsating transition.

Crossing
2016, 11 minutes, 16mm, Richard Tuohy and Dianna Barrie
Across the sea. Across the street. Cross processed super 8 footage of fraught neighbours Korea and Japan in grain focused enlargement.

Invention of the Wheel
2015, 14 minutes, 16mm, Richard Tuohy and Dianna Barrie
On man and machine.   On the wheel upon which man turns and is turned.     On ‘homo mechanicus’ – ‘machine man’.

Pancoran
2017, 7 minutes, 16mm, Richard Tuohy and Dianna Barrie
Jakarta traffic moves with the harmonious chaos of complex self organising entities everywhere. Through contact printer matteing techniques this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains.

Jakarta traffic stands as proof of the paradox of motion.

Last Train
2016, 12 minutes, 16mm, Dianna Barrie and Richard Tuohy
Found in the (now lost) archive of Lab Laba Laba, footage from a trailer for the Indonesian film ‘Kereta Api Terakhir’ (The Last Train) melts into a soup of chemigrammed perforations.

A film made in seven cities, and none.

Etienne’s Hand
2011, 13 minutes, 16mm, Richard Tuohy
A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand cranked music box.

Inside the Machine
2016, 12 minutes, 3 x 16mm, Richard Tuohy and Dianna Barrie
Lines. Direct optical sound. An alarm from the past and the voice of the machine.

 

Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. After a brief hiatus from cinema (including formal study in philosophy for seven years) he returned to filmmaking in 2004. Since then he has created almost 40 films.   His films have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has toured Europe, North America and Asia presenting solo programs of his work. His films are typically highly structured and and have strongly formalist concerns. He is the proprietor of the artist-run film lab nanolab – the only lab for small gauge film in Australia. His works are firmly in the ‘hand-made’ film tradition. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia (notably through the Artist Film Workshop in Melbourne of which he is the founder and convener) and internationally. He was also a co-founder of the AIEFF experimental film festival in Melbourne.

As a young person Dianna Barrie found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab with Richard Tuohy, and into the intersection of hand making and industrial cinema technology. This exploration has spread beyond individual work to the establishment of Artist Film Workshop, where celluloid is embraced and advocated by a community of practitioners in Melbourne.

 

Programmed by Lorenzo Gattorna



Filed under: 16mm, 8mm, architecture, archival, artist in attendance, Asian, cityscape, collaboration, documentary, expanded cinema, experimental, film, found footage, hand-processing, international, performance, Super 8mm, travel, triple projection, Uncategorized, urban

MOVEMENT MATERIAL

Camera/Dance Works by Jeremy Moss & Pamela Vail
Artists in Attendance!

chroma

The Nightingale Cinema, 1084 N. Milwaukee
Wednesday, December 7th, 7 pm, $7-10

The Nightingale welcomes Jeremy Moss and Pamela Vail to present a 60-minute program of video, 16mm projection, and live performance that highlights transfigurative gestures via the collision of camera and dance. This program explores the roles and functions of both the cinematographer (Jeremy Moss) and the dancer (Pamela Vail) while engaging questions of space, movement, and the ways in which the frame and the cut create alternate walls and rhythms. The progression of this camera/dance collaboration has led the artists to pointedly examine equality, balance, interactivity, and reciprocity between both forms.

Jeremy Moss and Pamela Vail have been actively collaborating since the fall of 2008 and their collective films and videos have shown at prominent national and international festivals including Experiments in Cinema, Crossroads in San Francisco, Cucalorus, Next Dance Cinema, Cinedans in Amsterdam, Arkipel in Jakarta, and at renowned North American venues such as the Northwest Film Forum, San Francisco Cinematheque, Vox Populi in Philadelphia, and Echo Park Film Center.

Their non-narrative visual explorations investigate and present the singular moving body via structural camera and rhythmic editing. Both durational and intense, phrasing of movement and cutting range from assaulting and severe to meditative and lulling. Through this program, the artists ask: how do/can camera and movement inform the other, and offer new possibilities without favoring one over the other? Can the camera act as a dynamic partner, more than simply a new “stage” or documenting device for the dancer? Can the dancer be more than a subject embedded within the frame and altered by the cut? What is the role of location when considering the duet between dancer and camera? How can the dance film continue the early investigations of camera and movement radically propelled by Maya Deren in the twentieth century.

(more…)



Filed under: 16mm, artist in attendance, collaboration, dance, experimental, hand-processing, landscape, music, performance, place, rural, sound, Uncategorized, video

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