25 October 2008

London Film Festival 2008

London BFI Southbank
25-26 October 2008

The festival’s annual celebration of artists’ film and video will take place on 25-26 October 2008, presenting a diverse selection of international work in eight screenings that open a window onto a wide range of creativity.

This year’s selection includes special programmes devoted to the work of Nathaniel Dorsky, Alina Rudnitskaya, Ben Rivers and Michel Auder. Films by the radical French theorist Guy Debord will be shown in 35mm preservation prints. New approaches to documentary and ethnography recur throughout the weekend, which presents established and emerging artists in a curated survey of innovation in the moving image. Several makers will be present to discuss their work and two continuous installations will be shown in the BFI Southbank Studio.

Curated by Mark Webber for The Times BFI 52nd London Film Festival.

PLEASE NOTE: More tickets for "sold out" screenings may be released in the days leading up to the weekend & there are usually a few available on the door immediate before each programme.

Pneuma Monoxyd (Thomas Köner, 2007)

Saturday 25 October 2008, from 12-7pm, Studio, FREE

Thomas Köner | Germany-Serbia 2007 | 10 min (continuous loop)
Merging surveillance images of a German shopping street and a Balkan marketplace, Köner’s darkly abstract work, with its spatially evocative soundtrack, generates a muted sense of spectral dystopia.

Four Toronto Films (Nicky Hamlyn, 2007)

Saturday 25 October 2008, at 2pm, NFT3

Nicky Hamlyn | UK 2007 | 18 min
During a residency in the Canadian city, Hamlyn made this suite of films that explore a direct relationship between subject matter and camera apparatus. Three scrutinise aspects of the urban locale, the other an accelerated view of Koshlong Lake.

Robert Todd | USA 2007 | 9 min
A residential street, seen through the passageways that separate its dwellings, is the focus of this understated study of gentrification in a Boston neighbourhood.

Rebecca Baron, Douglas Goodwin | USA 2008 | 3 min
Witness the dematerialization of an avant-garde standard as incomplete digital files, downloaded from file sharing networks, induce trouble in the image.

Jayne Parker | UK 2008 | 25 min
Linear Construction, Woman with Arms Crossed and Arc refer back to a quartet of films made with musician Anton Lukoszevieze almost a decade ago. This new anthology for solo cello was shot at Kettles Yard and incorporates items from the museum’s collection which open up metaphorical space and meaning.

Lawrence Jordan | USA 2008 | 12 min
An alchemical melodrama composed of engravings from 19th century adventure stories. The illustrations are conjured into motion as improbable sounds collide with a Puccini aria.

Total running time approximately 90 min

Sur le passage de quelques personnes à travers une assez courte unité de temps
(Guy Debord, 1959)

Saturday 25 October 2008, at 4pm, NFT3

‘The cinema, too, has to be destroyed.’ (Guy Debord)

An extremely rare opportunity to see new 35mm prints of films by French writer and theorist Guy Debord, best known for The Society of the Spectacle. Debord was a central figure of the Situationist International (SI), a nihilistic band of agitators whose harsh critiques of capitalist society, inspired by Marxism and Dada, were conveyed through publications, visual art and collective actions. Articulated primarily in the French language, Situationism was relatively ineffective in Britain and America in its time, and though numerous translations are now available, Debord’s radical films remain unseen. Far ahead of its time, his technique of ‘détournement’ assimilates still and moving image-scraps from features, newsreels, printed matter, advertisements and other detritus to satisfy the viewer’s ‘pathetic need’ for cinematic illusion. Propelled by a spoken, monotonous discourse, the images do not so much illustrate the text as underpin it, often maintaining a metaphorical relationship that may not at first be apparent. The two films showing here effectively bookend Debord’s involvement with the Situationists, whose politically subversive practice aspired to provoke a revolution of everyday life.

Guy Debord | France 1959 | 18 min
In the dingy bars of St-Germain-des-Prés, Debord and his associates formed a bohemian underground for whom ‘oblivion was their ruling passion.’ This anti-documentary captures the SI close to its moment of inception, following their separation from the Lettristes two years prior.

Guy Debord | France 1978 | 105 min
‘I will make no concessions to the public in this film. I believe there are several good reasons for this decision, and I am going to state them.’ And state them he does. Debord’s final film is a denunciation of cinema and society at large, an unremitting diatribe against consumption. The SI is equated to a military operation (charge of the light brigade, no less) as its members are presented alongside images of the D-Day landings, Andreas Baader, Zorro, a comic strip Prince Valliant and quotes from Shakespeare, Ecclesiastes and Omar Khayyám. Debord takes no prisoners in this testament to his anarchistic vision.

Total running time approximately 125 min

Bitch Academy (Alina Rudnitskaya, 2008)

Saturday 25 October 2008, at 7pm, NFT3

Alina Rudnitskaya’s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.

Alina Rudnitskaya | Russia 2003 | 20 min
A sensitive portrait of an unusual urban phenomenon: a troupe of independent and strong-minded girls who keep horses in the heart of St Petersburg. Amazons follows a new volunteer as she tries to find her place within the group dynamic.

Alina Rudnitskaya | Russia 2006 | 27 min
With music providing an escape from their duties as veterinarians, nurses and cleaners, the amateur chorus of a provincial town rehearse songs from Verdi’s ‘Aida’. Close bonds are formed, but in true diva style, relationships within the choir are frequently inharmonious.

Alina Rudnitskaya | Russia 2008 | 29 min
An improbable symbol of modern Russia is displayed in this tragicomic verité on the aspirations of young women. In a progressive twist on assertiveness training, a middle-aged, paunchy Casanova (who surely loves his job) gives classes on how to seduce the male using role play, styling critiques and sexy dancing. The ultimate goal is to hitch a millionaire, and though there’s much humour in the situation, occasional tears and telling looks remind us that the insecurities of real lives are being laid bare.

Total running time approximately 80 min

Horizontal Boundaries (Pat O’Neill, 2008)

Saturday 27 October 2008, at 9pm, NFT3

Francisca Duran | Canada 2006 | 6 min
Set in metal type, a passage from Maxim Gorky’s review of the Lumières melts into a pool of molten lead.

David Gatten | USA 2007 | 8 min
‘An unexpected letter leads to an unanticipated encounter and an extravagant gift. Some windows open easily; other shadows remain locked rooms.’ (David Gatten)

Charlotte Pryce | USA 2008 | 4 min
A saturated cine-miniature inspired by Dutch 17th Century painting.

Sami van Ingen | Finland 2007 | 7 min
The film image of a loaded truck, careening free of its position in the frame, speeds along a mountain road towards an inevitable fate.

Bart Vegter | Netherlands 2008 | 9 min
Computer animated abstraction in three dimensions. Slowly evolving geometric forms suggest sculptural figures and waning shadows.

Pat O’Neill | USA 2008 | 23 min
O’Neill’s dizzying deployment of the 35mm frame-line is intensified by Carl Stone’s electronic score. A hard and rhythmic work, thick with superimposition, contrary motion and volatile contrasts, reminiscent of his pioneering abstract work of prior decades.

Bruce Conner | USA 2008 | 10 min
Bruce Conner’s freewheeling camera chases morning light in a hypnotic blur of colour and multiple exposures. This final work by the artist and filmmaker rejuvinates his rarely seen 8mm film Easter Morning Raga (1966). With music by Terry Riley.

Total running time approximately 70 min

Kempinski (Neil Beloufa, 2007)

Sunday 28 October 2008, from 12-7pm, Studio, FREE

Neil Beloufa | Mali-France 2007 | 14 min (continuous loop)
Whilst challenging our stereotypical view of Africa, Kempinksi also blurs the lines between documentary, ethnography and science fiction. Asked to imagine the future but to speak in the present tense, the protagonists describe extraordinary and unexpected visions.

Sarabande (Nathaniel Dorsky, 2008)

Sunday 26 October 2008, at 2pm, NFT3

In his search for a ‘polyvalent’ mode of filmmaking, Nathaniel Dorsky has developed a filmic language which is intrinsic and unique to the medium, and expressive of human emotion. Seeking wonder not only in nature but in the everyday interaction between people in the metropolitan environment, Dorsky observes the world around him. Free of narrative or theme, his films transcend daily reality and open a space for introspective thought. ‘Delicately shifting the weight and solidity of the images’, a deeper sense of being is manifest in the interplay between film grain and natural light. Dorsky returns to London to introduce two brand new films and Triste, the work that first intimated his sublime and distinctive ‘devotional cinema’. These lyric films are humble offerings which unassumingly blossom on the screen, illuminating a path for vision.

Nathaniel Dorsky | USA 2007 | 19 min
‘San Francisco’s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal.’ (Nathaniel Dorsky)

Nathaniel Dorsky | USA 2008 | 15 min
‘Dark and stately is the warm, graceful tenderness of the sarabande.’ (Nathaniel Dorsky)

Nathaniel Dorsky | USA 1978-96 | 19 min
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, and bringing together subject matter not ordinarily associated, a deeper sense of impermanence and mystery can open. The images are as much pure-energy objects as representation of verbal understanding and the screen itself is transformed into a ‘speaking’ character. The ‘sadness’ referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood.’ (Nathaniel Dorsky)

Total running time approximately 70 min

The Feature (Michel Auder & Andrew Neel, 2008)

Sunday 26 October 2008, at 3:45pm, NFT3
Tuesday 28 October 2008, at 7pm, Studio

Michel Auder, Andrew Neel | USA 2008 | 177 min

In Michel Auder’s case, the truth is certainly stranger than fiction. One of the first to compulsively exploit the diaristic potential of the Sony Portapak, he was right there at the heart of the Warhol Factory and the Soho art explosion. This fictionalised biography draws on his vast archive of videotapes, connecting them by means of a distanced narration and new footage, shot by co-director Andrew Neel, in which Auder portrays his doppelganger, an arrogantly successful artist who may or may not have a life-threatening condition. Resisting nostalgia through wilful ambiguity, The Feature remains raw and brutally honest as Auder displays the best and worst of himself. Taking in his marriages to both Viva and Cindy Sherman, and affiliations with Larry Rivers, the Zanzibar group and the downtown art scene, this is necessarily a tale of epic proportions, chronicling an amazing journey through art and life whilst providing access to a wealth of fascinating personal footage.

Tjúba Tén (Brigid McCaffrey & Ben Russell, 2008)

Sunday 26 October 2008, at 7pm, NFT3

Julia Hechtman | USA 2006 | 5 min
Sci-fi hallucinations seem commonplace as Hechtman invokes mysterious natural phenomena: an extreme case of mind over matter.

Neil Beloufa | Mali-France 2007 | 14 min
Speaking in the present tense, interviewees describe their idiosyncratic notions of the future. To the western viewer, the unlikely subjects, stylized settings and atmospheric lighting impart a strange disconnect between science fiction and anthropology.

Brigid McCaffrey, Ben Russell | USA-Suriname 2008 | 47 min
‘An experimental ethnography composed of community-generated performances, re-enactments and extemporaneous recordings, this film functions doubly as an examination of a rapidly changing material culture in the present and as a historical document for the future. Whether the record is directed towards its subjects, its temporary residents (filmmakers), or its Western viewers is a question proposed via the combination of long takes, materialist approaches, selective subtitling, and a focus on various forms of cultural labour.’ (Ben Russell)

Sylvia Schedelbauer | Germany 2008 | 15 min
Cast adrift in the collective unconscious, Remote Imtimacy constructs an allegorical collage from found footage and biographical fragments, exploring cultural dislocation using the rhetoric of dreams.

Origin of the Species (Ben Rivers, 2008)

Sunday 26 October 2008, at 9pm, NFT3

An intrepid explorer, Ben Rivers toys with ethnographic tropes whilst roaming free from documentary truth. Encountering those who choose to live apart from society, his nonjudgmental approach presents ‘real life, or something close to it.’ The Edge of the World features several recent works with other films of his choice.

Ben Rivers | UK 2008 | 19 min
In the wilderness of a highland farm, a bunch of tearaways joyride, smash up, tinker and terrorize the way that only children can. Assimilating landscape and livestock, this poetic study contrasts the languid setting with the youngster’s restless energy.

Alexandra Cuesta | USA 2007 | 9 min
Utilitarian objects, related to health and hygiene, rendered in unconventional ways. This unsettling film questions the way that we relate to our surroundings by exploring the ‘radical otherness’ of things.

Ben Rivers | UK-Denmark 2007 | 8 min
Danish recluse Astika has allowed nature to run wild, overgrowing his own habitat to the point that he has no option but to move away. The film is a hazy arrangement in green and gold, all rich textures and lush foliage.

Luther Price | USA 2007 | 4 min
A gospel cry rings out across the decades, disrupted in space and time, fading but resilient.

Ben Rivers | UK 2008 | c.7 min
A little anticipation never did anyone any harm; you’ll have to be there to find out what it is.

Ben Rivers | UK 2008 | 17 min
‘A 70-year old man living in a remote part of Scotland has been obsessed with ‘trying to really understand’ Darwin’s book for many years. Alongside this passion, he’s been constantly working on small inventions for making his life easier. The film investigates someone profoundly interested in human beings, but who has decided to live separately from the majority of them.’ (Ben Rivers)

Total running time approximately 75 min

Advance booking recommended
Standard ticket price is £8.50

Book online at www.bfi.org.uk/lff
Telephone Box Office: 020 7928 3232
Book in person at BFI Southbank

For full booking info see www.bfi.org.uk/lff

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17 October 2008

Jonas Mekas presents FLUX PARTY

London Rio Cinema
Friday 17 October 2008, from 11:15pm 'til late

Legendary artist-filmmaker Jonas Mekas presents FLUX PARTY featuring the complete FLUXUS film anthology as assembled by George Maciunas, rare Fluxus audio and surprises.

Fluxus Anthology title by George Maciunas

Includes films by Yoko Ono, Nam June Paik, Wolf Vostell, George Brecht, Dick Higgins, Robert Watts, John Cale, Chieko Shiomi, Paul Sharits and Ben Vautier. A special late night screening on the big screen of East London's splendid art deco picture palace.

Jonas Mekas will be in attendance to discuss Fluxus and his friend and fellow Lithuanian émigré George Maciunas. Drinks and Flux Cakes will be served.

Curated by Anne-Sophie Dinant and Mark Webber. Presented by the South London Gallery. With thanks to Benn Northover, Serpentine Gallery, Re:Voir and the Rio Cinema. Supported by the Lithuanian Ministry of Culture and Freedom Brewery.

Fluxfilm No. 16: Four (Yoko Ono, 1967)

Friday 17 October 2008, from 11:15pm 'til late


The most complete known version of the Fluxfilm Anthology.

Fluxfilm No. 1: Zen For Film, Nam June Paik, 1964, 20 min.
“Clear film, accumulating in time dust and scratches.”

Fluxfilm No. 2: Invocation of Canyons and Boulders, Dick Higgins, 1966, 3 min version.
“Mouth, eating motions.”

Fluxfilm No. 3: End After 9, George Maciunas, 1966, 1 min.
“Word & number gag, no camera.”

Fluxfilm No. 4: Disappearing Music For Face, Chieko Shiomi, 1966, 10 min.
“Transition from smile to no-smile, shot at 2000fr/sec. Camera shows only a CU of the mouth area.” Camera: Peter Moore

Fluxfilm No. 5: Blink, John Cavanaugh, 1966, 5 min.
“Flicker: White and black alternating frames.”

Fluxfilm No. 6: 9 Minutes, James Riddle, 1966, 9 min.
“Time counter, in seconds and minutes.”

Fluxfilm No. 7: 10 Feet, George Maciunas, 1966, 13 sec.
“Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10.”

Fluxfilm No. 8: 1000 Frames, George Maciunas, c.1966, 42 sec.
“Numerals on clear film from 1 to 1000.”

Fluxfilm No. 9: Eyeblink, Yoko Ono, 1966, 1 min.
“High speed camera, 200fr./sec. view of one eyeblink.” Camera: Peter Moore

Fluxfilm No. 10: ENTRANCE to EXIT, George Brecht, 1966, 7 min.
“A smooth linear transition from white, through greys to black, produced in developing tank. The ‘door sign’ ENTRANCE fades in, white letters on the black background, stays for a few seconds, then slowly fades into white. Five-minute fade into black and the title EXIT, which stays for a few seconds then fades into white.”

Fluxfilm No. 22: Shout (Jeff Perkins, 1966)

Fluxfilm No. 11: Trace No. 22, Robert Watts, 1965, 1 min.
“X-ray sequence of mouth and throat; eating, salivating, speaking.”

Fluxfilm No. 12: Trace No. 23, Robert Watts, 1966, 3 min.
“Begins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso. The female then passes different decorated plastic hot dogs, banana shapes suggestively between her legs, through her arm pits, etc. Ends with an egg floating on water.”

Fluxfilm No. 13: Trace No. 24, Robert Watts, 1966, 3 min.
“Begins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.”

Fluxfilm No. 14: One, Yoko Ono, 1966, 5 min.
“High speed camera 2000fr/sec. match striking fire.” Camera: Peter Moore.

Fluxfilm No. 15: Eye Blink, Yoko Ono, 1966, 1 min.
“Same as No. 9, probably.” Camera: Peter Moore.

Fluxfilm No. 16: Four, Yoko Ono, 1967, 6 min.
“Sequences of buttock movement as various performers walked. Filmed at constant distance.” With Susanna Campbell, Philip Corner, Anthony Cox, Bici Hendricks, Geoffrey Hendricks, Kyoko Ono, Yoko Ono, Ben Patterson, Jeff Perkins, Susan Polang, Jerry Sablo, Carolee Schneemann, James Tenney, Pieter Vanderbiek, Verne Williams. Camera: Jeff Perkins, Anthony Cox.

Fluxfilm No. 17: 5 O’Clock in the Morning, Pieter Vanderbiek, 1966, 5 min.
“A handful of rocks and chestnuts falling, filmed with high speed camera.” Camera: Peter Moore.

Fluxfilm No. 18: Smoking, Joe Jones, 1966, 6 min.
“Sequence of cigarette smoke shot with high speed camera, 2000fr/sec.” Camera: Peter Moore.

Fluxfilm No.19: Opus 74, version 2, Eric Andersen, 1966, 1 min.
“Single frame exposures, color. Different image each frame, various items in the room, etc.”

Fluxfilm No. 20: ARTYPE, George Maciunas, 1966, 4 min.
“Artype patterns, intended for loops.” Benday dot patterns. Dots, lines. “Screens, wavy lines, parallel lines, etc. on clear film. No camera.”

Fluxfilm No. 22: Shout, Jeff Perkins, 1966, 3 min.
“Close-ups of two faces, shouting at each other.” Starring Jeff Perkins and Anthony Cox. Camera: Yoko Ono.

Fluxfilm No. 23: Sun in Your Head, Wolf Vostell, 1963, 6 min.
“Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: ‘silence, genius at work’ and ‘ich liebe dich.’ The end credit is ‘Television décollage, Cologne, 1963’.” Camera: Edo Jansen.

Fluxfilm No. 24: Readymade, Albert Fine, 1966, 45 sec.
“Color test strip from developing tank.”

Fluxfilm No. 25: The Evil Faerie, George Landow, 1966, 30 sec.
“A man on the roof making flying gestures with his hands. Film is preceded by a picture of an object of ‘L’ shape shakingly moving. At the end of the film, image of ‘Kodak girl’ briefly appears.” With Steven M. Zinc.

Fluxfilm No. 26: Sears Catalogue 1-3 (Paul Sharits, 1965)

Fluxfilm No. 26: Sears Catalogue 1-3, Paul Sharits, 1965, 28 sec.
“Pages from Sears catalogue, single frame exp.”

Fluxfilm No. 27: Dots 1 & 2, Paul Sharits, 1965, 46 sec.
“Single frame exposures of dot-screens.”

Fluxfilm No. 28: Wrist Trick, Paul Sharits, 1965, 28 sec.
“Various gestures of hand held razorblade, single frame exposures.”

Fluxfilm No Number: Unrolling Event, Paul Sharits, 1965, 5 sec.
“Toilet paper event, single frame exposures.”

Fluxfilm No. 29: Word Movie, Paul Sharits, 1965, 4 min.
“Single frame exposures of words, color.”

Fluxfilm No. 30: Dance, Albert Fine, 1966, 2 min.
“Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall.”

Fluxfilm No. 31: Police Car, John Cale, 1966, 1 min.
“Underexposed sequence of blinking lights on a police car.”

Fluxfilm No. 36: Fluxfilm No. 36, Peter Kennedy & Mike Parr, 1970, 3 min.
“Tips of feet walking at the edge of frame, all around the frame.”

Fluxfilm No. 37: Fluxfilm No. 37, Peter Kennedy & Mike Parr, 1970, 2 min.
“Face going out of focus by layering sheets of plastic between camera and subject.”

Fluxfilm No. 38: Jen e vois rien Je n’entends rien Jen e dis rien, Ben Vautier, 1965, 5 min.
“Seeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.”

Fluxfilm No. 39: La traverse du port de Nice á la nage, Ben Vautier, 1963, 2 min
“Swimming across Nice harbour fully clothed. Ben swims across a bay in Nice.”

Fluxfilm No. 40: Fair un effort, Ben Vautier, 1969, 2 min.
“Lifting and holding up a chest of drawers.”

Fluxfilm No. 41: Regardez moi cela suffit, Ben Vautier. 1962, 3 min.
“Sitting on a promenade in nice with a sign: Watch me, that’s all.”


Rio Cinema
107 Kingsland High Street, Dalston, London, E8 2PB

Nearest Train: Dalston Kingsland (London Overground)
Buses: 30, 38, 75, 149, 242, 243
Night Buses: N38, N149, N242, N243

Tickets: £6 (drinks included), booking recommended
Box Office: 020 7241 9410


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01 October 2008

Ken Jacobs at tank.tv

Online at www.tank.tv
1 October - 30 November 2008

Ken Jacobs has been active as a filmmaker, performer and teacher for the past five decades. Rigorous and dedicated, his work is characterised by a keen eye for formal composition and a fierce political consciousness.

The exhibition at tank.tv presented a portfolio of 20 works covering 50 years of Ken Jacobs’ artistic production from 1957 to the present day, and is now available in the tank.tv archive.

Razzle Dazzle: The Lost World (Ken Jacobs, 2006)
As a central figure of the generation that defined independent filmmaking during the post-War era, Ken Jacobs contributed to the liberation of cinema from technical and ideological conventions. Beginning in the 1950s, he developed an ‘urban guerrilla cinema’ out of poverty and desperation, shooting improvised routines on city streets. The early works Star Spangled to Death, Little Stabs at Happiness and Blonde Cobra feature a nascent Jack Smith, years before the renegade artist produced his own films.

Having lived in New York all his life, the changing character of the city has been a strong presence throughout Jacobs’ work, from his manipulation of vintage street scenes in New York Ghetto Fishmarket 1903, through to the diaristic video Circling Zero: We See Absence, which observes the aftermath of the attack on the World Trade Center, a few blocks away from Jacobs’ home. The Sky Socialist was shot in a deserted neighbourhood (long since decommissioned) below the Brooklyn Bridge in the 1960s, and Perfect Film uses raw television news reports on the assassination of Malcolm X.

Star Spangled To Death (Ken Jacobs, 1957-59/2004)
Found or archival footage is a source for much of Jacobs’ work. In Star Spangled to Death, entire appropriated films contribute to an accumulative denunciation of American politics, religion, war and racism, whereas an analytical approach to reclaiming cinema’s past was originated in Tom, Tom the Pipers’ Son by re-filming selected details of a theatrical production dating from 1905. This same footage has lately been digitally excavated in Return to the Scene of the Crime.

The technique of unlocking aspects of film material that would otherwise pass unnoticed is the essence of the live Nervous System pieces that Jacobs has performed with two adapted projectors since the mid-1970s. Repetition and pulsing flicker teases frozen images into impossible depth and perpetual motion (demonstrated in New York Street Trolleys 1900), a process further developed by the Eternalism system of editing used in many recent videos. The previously ephemeral live performances Ontic Antics Starring Laurel and Hardy; By Molly! and Two Wrenching Departures are amongst the works that take on new life in their digital form.

Two Wrenching Departures (Ken Jacobs, 2006)
A contemporary of Stan Brakhage, Bruce Conner and Jonas Mekas, Ken Jacobs is one of the true innovators of the moving image, who continues his radical practice in the present. Though his images frequently depict bygone eras, the works are resolutely contemporary, displaying a vitality and ingenuity that is rarely matched.

Programme :-
The Whirled (1956-63), Star Spangled To Death (1957-59/2004), Little Stabs At Happiness (1958-63), Blonde Cobra (1959-63), The Sky Socialist (1964-65), Tom, Tom, The Piper's Son (1969-71), The Doctor's Dream (1978), Perfect Film (1985), Flo Rounds A Corner (1999), New York Street Trolleys 1900 (1999), Circling Zero: We See Absence (2002), Krypton Is Doomed (2005), Let There Be Whistleblowers (2005), Ontic Antics Starring Laurel And Hardy; Bye, Molly! (2005), The Surging Sea Of Humanity (2006), Capitalism: Child Labor (2006), New York Ghetto Fishmarket 1903 (2006), Two Wrenching Departures (2006), Razzle Dazzle: The Lost World (2006), Return To The Scene Of The Crime (2008)

Curated by Mark Webber.

After 30 November 2008, the exhibition will continue to be available in the tank.tv archive.

Ontic Antics with Laurel and Hardy; Bye, Molly! (Ken Jacobs, 2005)

For the duration of the online show, tank.tv offers a unique opportunity for discussion with Ken Jacobs in an extended Q+A session. Email your questions to the artist at ken@tank.tv A regularly updated transcript of the dialogue will be online at www.tank.tv/askken


Friday 19 September 2008, at 7pm, Tate Modern, London
Return to the Scene of Crime (2008, 92 min)
An antique film print is probed, exploded and reconstituted in the digital domain with radical ingenuity and infectious wit. Screening as part of a weekend of tank.tv events at Tate.

Thursday 16 October 2008, at 9pm, BFI Southbank, London
& Sunday 19 October 2008, at 5pm, ICA Cinema, London

Momma’s Man (2008, 94 min). A feature film by Azazel Jacobs, starring and shot in the loft of his parents, Ken and Flo Jacobs. www.mommasman.com Screening in The Times BFI 52nd London Film Festival.

October/November, CAS Zuidas, Amsterdam
Capitalism: Child Labor (2006, 14 min), an animated deconstruction of a Victorian stereo photograph, will be regularly presented on the CASZ Contemporary Art Screen Zuidas on the Zuidplein in Amsterdam.

Sunday 2 November 2008, from 2pm-10pm, Chisenhale Gallery, London
Star Spangled to Death (1957-59/2004, 375 min). Celebrate the end of the Bush regime with a free screening of Ken Jacobs' episodic indictment of American politics, religion, war, racism and stupidity. Starring Jack Smith, Richard Nixon, Nelson Rockefeller, Al Jolson and a cast of thousands. Refreshments available. Presented by Whitechapel at the Chisenhale.

Saturday 29 November 2008, at 10:15pm, BFI IMAX, London
Ken Jacobs Nervous Magic Lantern live performance in collaboration with Eric La Casa, using pre-cinematic techniques to conjure abstract 3D forms on the immense IMAX screen. Part of the Kill Your Timid Notion tour (also performing in Bristol and Liverpool).

Sunday 30 November 2008, at 12:30pm, BFI Southbank, London
Ken Jacobs in Conversation. Kill Your Timid Notion presents a discussion with the artist to follow on from the previous night’s performance.

Tank Magazine, 10th Anniversary Issue (on sale now)
Ken Jacobs discusses Star Spangled to Death with Mark Webber, and contributes “Failed State” an article on contemporary American politics.


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