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Frenkel Defects II

October 22, 2014 @ 8:00 pm - 10:00 pm

- Free
Frenkel defects

Abstract:

Frenkel Defects is a recurring, interstitial film series aimed at supporting contemporary filmmakers working in, and presenting on, motion picture film. In this second edition, works from North American artist and film labs will be primarily be featured…

Program Details:

26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti

Busti_26pulse

[30 Meters, Optical Sound, 1.33:1, Tungsten]
“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice, the crux of increasing light… seen setting over the Pacific.”
Yes it is here…it is here, where we are…
Beneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam

Szlam_beneath_1080

[30 Meters, MOS, 1.33:1, Tungsten]
“Originally shot and edited in a Super-8 camera, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”
Salt – Martha Jurksaitis

Cherry_Salt_NewStill_1

[80 Meters, MOS, 1.33:1, Tungsten]

“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.”

I Swim Now –  Sarah Biagini
Biagini_Swim_NewStill_2
[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Rewards – Mariya Nikiforova

Nikiforva_rewards

[60 Meters, Optical Sound, 1.33:1, Tungsten]
“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti, stained glass, natural decomposition, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack, composed in collaboration with Stefan Grabowski, explores the way in which we sometimes “hear” what we see and vice versa.”
Perceptual Subjectivity – Philippe Leonard

Phil_Perceptual_Subjectivity_Still

[60 meters, optical sound, 1.33:1, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

At Hand – Andrew Busti

Busti_At_Hand_Still-1024x768

[90 Meters, Optical Sound, 1.33:1, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne

Dunne_Cornmother_Still_2

[30 Meters, MOS, 1.33:1, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

SEE/SAW – Charlie Egleston

Egleston_seesaw_1080

[50 Meters, MOS, 1.33:1, B&W]
“A film about seeing and having seen. Completely hand-processed and painstakingly edited, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing, beginning/ending, light/dark – it is also a deeply personal film that faces the imminence of not being.”
DER SPAZIERGANG – Margaret Rorison

Rorison_derspaziergang

[30 Meters, Optical Sound, 1.33:1, Tungsten]
“This film documents long walks throughout Berlin, Germany during the cold days of April, 2013.
The film is edited in camera and composed of single frame snapshots along with longer moments of glance, captured on one 100’ roll of film.
The title comes from a story by Robert Walser.”
To The Beach – Robert Schaller

schaller_tothebeach_1080

[100 Meters, Optical Sound, 1.33:1, Tungsten]
“One hears in the sea’s call the feeling of a promise made to us before birth, that we can know the world not merely as an atlas of things seen, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points, filmed (respectively) near, in, and under the sea using a variety of techniques, and registers the resulting images onto hand-made film emulsion.
I. Approaching the Shore: in which the ocean first offers its irresistible salty scent.
II. Swimming: in which we become again what we are.
III. Seeing Stars: as above, so below.
Music by John Drumheller.”
Sanctuary – Kevin Rice

Rice_Sancturary_NewStill_2

[30 Meters, MOS, 1.33:1, Tungsten]

(no description)

Additional Documents & Links:

Details

Date:
October 22, 2014
Time:
8:00 pm - 10:00 pm
Cost:
Free
Event Categories:
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Event Tags:

Venue

NDSM Treehouse / Studio Misty Lavender
Between De Scheepsbouwloods and Theo Fransmanbrug
Amsterdam, Netherlands

Organizer

Marcy Saude