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
[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…
Salt – Martha Jurksaitis
[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
[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.
Beneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam
[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.”
Lunar Almanac – Malena Szlam
[30 Meters, MOS, 1.33:1, Tungsten]
“Moving through landscapes and inhabiting landscapes, the moon is on a journey through magnetic spheres, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection, I take what I see and remove it from the ordinary, translating it out of the physical and into the psyche, then back again into the physical. Through single-frame and long-exposure superimpositions, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”
Rewards – Mariya Nikiforova
[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.”
At Hand – Andrew Busti
[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
[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
[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
[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
[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
[30 Meters, MOS, 1.33:1, Tungsten]
(no description)
Additional Documents & Links:
