NocticulaScreen Project: Incertezas (2016)

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NocticulaScreen Project: Incertezas Por Hambre | espacio cine experimental + ClimaCom

Noctiluca scintillans são faíscas de mar, pequenos seres bioluminescentes que produzem o mareel ou o Milky seas effect. Elas transformam o mar numa grande tela bioluminescente, numa grande tela não-humana. Fazer aparecer essa grande tela não-humana é o desafio de um cinema que abraça as incertezas e tem a coragem de se abismar na aventura da criação de novas matrizes perceptivas. Um cinema que não tem medo de delirar blocos sensíveis outros que abram o humano ao afirmar que não podemos controlar nosso olhar e muito menos nosso olhar pode controlar o mundo. O único que pode tornar potente nosso olhar é fazer dele passagem de mundos, fluxo de cosmos. Fazer dele a posição relacional que faz brilhar o mar, que faz da tela a moradia de seres de luz, de bioluminescências entre sonoridades e visualidades. No entanto, talvez seja pertinente começar por diagnosticar esse nosso olhar humano demais sobre o mundo. A série “Human Nature” de Robert Todd abre entre sonoridades e visualidades um tempo de meditação e contemplação, um sutil vácuo perceptivo que apresenta, mas ao mesmo tempo faz divergir a forma-homem que impomos sobre o mundo querendo domesticá-lo, querendo controlá-lo… Um mundo antrópico nos é apresentado por Todd, um mundo que mesmo assim abre fugas e acolhe a incerteza no paradoxo de não se adequar ao tempo do controle, do extracionismo e consumismo que sufocam o cosmos e fazem do mundo um conjunto de commodities. A tela faz escoar cintilâncias não humanas, pois mesmo estando num mundo antropomórfico o tempo já é o do cosmo. A incerteza da vida, do estar vivo insiste no diferir pictórico e cromático que Anders Ramsell propõe nas suas variações do clássico “Blade Runner”, como se a incerteza do vivente passasse por um perder o contorno que nos faz sentir que a matéria é pura vibração. Pura vibração e variação são modos como sentimos que um certo cinema pode apostar em fazer aparecer novas matrizes perceptivas e onde a incerteza ganha consistência como procedimento estilístico singular. Os trabalhos de Juan Pablo Villegas, Pablo Mazzolo, Wolfgang Lehmann e Scott Barley, nos fazem sentir a vertigem de um olhar que já não reconhece mais um horizonte claro e distinto, mas que é pura dissolução de mensurabilidades, onde as sonoridades e visualidades são pura fuga rítmica. Não sabemos mais onde começa e onde termina o céu, a terra e o mar, eles se encontram e confundem, eles afirmam sua potência em infinitas direções. A matéria é reanimada,

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NoctilucaScreen Project: INCERTEZAS

ganha vivacidades novas, fazendo do mundo essa grande tela de luzes vivas onde o tempo do cosmos pode proliferar, onde podemos co-habitar o mundo com e entre as bioluminescências.

Sebastian Wiedemann Curator

Link: https://vimeo.com/nocticulascreen

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NoctilucaScreen Project: INCERTEZAS

Robert Todd’s Human Nature Series

Blade Runner – The Aquarelle Edition

FE

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NoctilucaScreen Project: INCERTEZAS

OAXACA TOHOKU

Meer

Hinterlands

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Robert Todd’s Human Nature Series Robert Todd

“To err is human.” This phrase is used to describe a component of human nature. In the era of the Anthropocene, it is abundantly clear that the error of our ways, of our nature, is the error of nature at large, or rather “nature” as humanity continues to remake it. The flaws in our design(s) are at issue in this series of works that examine the interplay between Western ideas regarding the “natural world” and our species’ inclinations and designs. 1. Emerald Necklace A presentation of contiguous landscapes that wind around Boston and Brookline, MA, designed during the Civil War by Frederick Law Olmsted to create an aesthetically pleasing environment within the city. This monument-garden serves as an ostensibly permanent nineteenth-century art exhibition promoting a romantic philosophy that positions “natural” elements as spiritual commodities, and furthers the notion that nature exists in service to humanity, subject to its aesthetic designs and principles. The film also suggests a philosophy jointly held by the landscape architect and the cosmetologist. 2. Over Water A film that connects scattered pieces of an archaic architecture of water-related infrastructure in the Northeast, including piers, bridges, and canal locks; designs for mastery over water that was once a hallmark of civil construction in past centuries, here conjoined with an archaic ideology that drives Western commerce, an ideology that sees nature as inherently chaotic and in need of our mastery, a mastery that typically centers on, if not requires, commodification of nature as a pool of “resources”. 3. Artificial Atmospheres Formulated in collaboration with artist and sibling Deb Todd Wheeler, this video displays a variety of mediated representations of layers of atmospheric penumbra, with sources for these miasmas ranging from plastic bags to power plants. These displays make reference to what makes up the “atmosphere”, whether visible or not, that defines the world we continue to create. We used a varied palette of cameras to construct the layers, creating separate levels of mediation that collide, overlap and dissipate in artificial rhythms as they meet within the digital imaging realm, with digital compressions from cameras and computer forming their own atmospheric complications.

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Robert Todd’s Human Nature Series

This artifice is met with a voice that describes terms for measurement and action suggestive of cybernetic respiration, suggesting that our atmospheric machinery is perhaps another example of our anthropocentric designs for regulating the world we live in. 4. The Hills Distance is at issue in this final chapter of the “Human Nature” series, which speaks of our postioning of the landscape as a source for contemplation as being a form of consumption and thereby invoking claims of ownership. These hills, found within the coal ranges of Eastern Pennsylvania, are marked by our vision as both “nature” and “territory”, subject to varied forms of reverence and exploitation. The film continues OVER WATER’s theme of controlling elements of nature, here complicated (and obviated) by the use of the grid as a trope serving as a reference to not only the literal introduction of powerlines (the energy grid), but more generally to the utility of image in relation to function, the epistemological goals of mapping, and the aspects of control that are intertwined with ownership and consumption.

Autor: Robert Todd (born 1963) is a Boston-based American filmmaker, known primarily for his short poetic experimental films. He teaches film production at Emerson College. His films have screened at international film festivals including The Rotterdam International Film Festival, The New York Film Festival, The Ann Arbor Film Festival, Media City Festival, and others. Link: http://roberttoddfilms.com/

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Robert Todd’s Human Nature Series

Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6380

Emerald Necklace. (23:40, 2016, Color 16mm, sound, USA)

Over Water. (31:40, 2015, Color and Black & White 16mm, sound, USA)

Artificial Atmospheres. (19:30, 2016, Color Video, sound, USA)

The Hills. (26:50, 2016, Color Video, sound, USA)

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Blade Runner – The Aquarelle Edition Anders Ramsell

This animation consists of 12 597 handmade aquarelle paintings, each painting is approximately 1,5*3cm in size. Together they form my 35 minute long paraphrase on the motion picture Blade Runner (1982) by Ridley Scott. “Blade Runner – The Aquarelle Edition” follows the original movie´s storyline but I have taken the liberty to change a lot of things. It was never my intent to make an exact version of the movie, that would fill no purpose. Instead I wanted to create a something different and never before seen — “The Aquarelle Edition”.

Autor: Anders Ramsell. Anders is currently doing his Master in Fine Art at Konstfack – University College of Arts, Crafts and Design in Stockholm. Link: http://www.andersramsell.com/

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Blade Runner – The Aquarelle Edition

Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6238

Rachel

Rick Deckard

Roy Batty

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FE Juan Pablo Villegas

Juan Pablo Villegas’s video “FE” — the chemical symbol for iron from the Latin ferratum, but also the Spanish word for faith—proposes a twisted act of belief. Metal has no organic life, however we assume that what we see and hear relates to a familiar realm. Unaware of the magnetic field that provokes the grated iron to move and thus generate sound, we project life into an inanimate object that appears to crawl, to squeal. Text by Maria del Carmen Carrion

Autor: Juan Pablo Villegas Link: vimeo.com/user12736941

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Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6244

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OAXACA TOHOKU Pablo Mazzolo

El 11 de marzo de 2011 se produjo un terremoto en la región costera de Tohoku, Japón. La ruptura de las placas tectónicas se expandió en un área de 100.000 Km2. En el otro extremo del Océano Pacífico, la región costera de Oaxaca, México, recibe una alerta de tsunami. Primer premio del Fondo Metropolitano de las Artes y Segundo premio en la Bienal de la Imagen en Movimiento.

Autor: Pablo Mazzolo (N. 1976, Buenos Aires; actualmente vive y trabaja en Buenos Aires). Estudió Diseño de Imagen y Sonido en la Universidad de Buenos Aires. Actualmente se desempeña como realizador documental, montajista y docente. Su trabajo explora la relación ontológica entre los seres humanos, la luz y el tiempo dentro de un soporte. Ha participado en diversos festivales, entre ellos, el New York Film: Views from the Avant Garde, el Rotterdam Film Festival, el Ann Arbor Film Festival y el Chicago Underground Film Festival. Ha sido distinguido con diversas menciones, entre ellas, Conjeturas (2013) ganó el Primer Premio en el Media City Film Festival (Windsor, Canadá). Oaxaca Tohoku (2012) fue premiada por el Fondo Nacional de las Artes y por la Bienal de la Imagen en Movimiento (BIM, Buenos Aires).

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OAXACA TOHOKU

Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6249

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Meer Wolfgang Lehmann

Sea, variations, rhythm.

Autor: Wolfgang Lehmann. His first cinematic efforts were made in 1989. Since 1994 Wolfgang Lehmann has realised and produced his own films, many of which were invited for showings at festivals and museums in Europe, Japan, Korea, India, Bangladesh, Israel, Australia, Canada, USA, Brazil and Latin America. Retrospectives were shown in Berlin, Frankfurt/Main and Cagliari (Sardinia). In his films Wolfgang Lehmann makes use mostly of documentary material; these include pictures of landscapes and themes from the urban space and from cities. His works can be characterised by an exact and often rhythmic-like montage, as well as extremely short takes that result in overlapping images. Link: http://www.imagewolfganglehmann.de/

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MEER

Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6254

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Hinterlands Scott Barley

Through a structuralist and simultaneously ambiguous form, the image’s reality treads closer to the abstract, leaving the sunset and trees behind. As we enter the image’s gloaming, it reveals its true eye: reality’s pure haptic energy, where there is nothing but sonorous light, and the dregs of the Unknown.

Autor: Scott studied Art & Design at Howard Gardens, Cardiff Metropolitan University, where he focused on themes of existential angst, self-sabotage, isolation and metaphysics within nature. Scott Barley has been linked to both the Remodernist Film Movement, and his work has often been compared with the ouevres of Stan Brakhage, Philippe Grandrieux, Béla Tarr, and Jean Epstein. He is currently completing his first feature-length work, Sleep Has Her House, which will premiere on Tao Films VOD from 1st January, 2017, whilst studying a Masters degree in Experimental Film at Kingston University. Link: http://www.scottbarleyfilm.com/

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Hinterlands

Disponível em: http://climacom.mudancasclimaticas.net.br/?p=6260

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