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Live Cinema: Guy Sherwin and Lynn Loo Epic Soundtracks: Experimental Film Show
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Saturday 31st at 2pm Live Cinema: Guy Sherwin and Lynn Loo One of the UK's foremost experimental filmmakers, Guy Sherwin was a key member of the influential '70s London Filmmakers Co-op and has worked with the medium for over three decades . Sherwin's unique hand-crafted films explores the inherent qualities of the 16mm filmstrip - grain, tone, flicker, sound, light and space. I n his 'optical sound' series he extends the image itself onto the films soundtrack - the fluctuating light of the filmstrip generating its own abstract sound. Beautiful, enigmatic, disorienting, sensual - these experimental works question our perception of light moving in time. Sherwin often uses live elements during a screening, sometimes appearing within the image or using the projector as a performative instrument. Working with film-maker, artist and archivist Lynn Loo they combine the light and sound of several 16mm projectors. For today's show Guy and Lynn perform the following works: Sound Cuts Guy Sherwin and Lynn Loo 2007-8 Black film is repeatedly cut and re-joined. The film combines rhythmic intervals from one cut per second increasing to twenty-four cuts per second, spread across several projectors. Railings Guy Sherwin 1977 'I found a way of cutting and re-joining the film so that the images of railings pass over the projector's sound-reproducing head; thus we hear the sound of the railings. The projector lies on its side projecting these images (with their accompanying sounds) upright onto the screen.' GS |
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End Rolls Lynn Loo 2009 'Raw colour film was partially exposed to different levels of light such as candle, stove, fire, room light, etc. The idea partly derived from seeing the beginnings and endings of colour film, a few seconds of colour fluctuations before arriving at the real images. Live sound is extracted from the light of the projectors.' LL |
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Cycles #3 Guy Sherwin 1972/2003 The material used in Cycles (1972/77) was reworked for two screens and two soundtracks, with one tinted screen set inside a second b/w screen. This combination gives rise to a surprising range of induced colours and afterimages, as well as complex cross-rhythms in the soundtrack |
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Sunday 1 st November at 1pm Epic Soundtracks: Experimental Film Show Violin Power An unconventional self-portrait. Audio/visual pioneer Steina is first seen in footage from the early 1970s, playing the violin and singing to the Beatles' 'Let It Be'. As succeeding segments trace a chronological progression, Steina layers imagery and time. The violin itself ultimately becomes an image-generating tool, as she connects it to imaging devices, creating abstract visual transpositions of sounds and vibrations. May Tomorrow Shine the Brightest of All Your Many Days As It Will Be Your Last Somewhere in the backwoods at turn of the last century in a valley surrounded by impenetrable mountains; a crack unit of female Japanese soldiers track a group of lost ancient desperadoes. They dig holes, they read, their leader channels the ghost of Futurist sound poets, and they keep moving onward...but who is searching for who and why? With a soundtrack expertly crafted from dictaphone recordings, old 78s, hiss and scratches, this is a magnificent return to fiction and mystery for Rivers after a series of experimental docs. Beautifully shot and hand processed on 16mm - A UK premiere. Caboong! Immersive, frenetic, richly coloured hand painted super 8mm film, energised further by the claps, drumming and junk percussion of Kukkiva Poliisi. Porter Springs 4 Hills is best known for his rapid-cut explorations of the New York downtown art scene of the 70s/80s. Porter Spring by contrast weaves together footage from 20 years of idyllic summers spent in North Georgia. An hallucinatory love poem; walks in the woods, swimming in rivers, time passes, a sister dies, a log cabin is struck by lightning. "Assembled and presented in the rhythms of my mind and body." HH The Ancient Set 'A staccato collision of monadic pixels, antique statuary, modern-day men and women in woeful nylon togas and a soundtrack that feeds the score of a composition designed to be played on replica Roman instruments through a slightly outmoded synthesizer, the work is a deliberately unsuccessful, even grotesque, appropriation of Classical culture, which nevertheless points not only to other such appropriations in Western history and to the power structures they supported but also to the wild side of the ancient world that they so often suppressed or denied' SC Lentokalojen Hautuumaa Karanka's camera intimately explores flowers, sunlight, sometimes people in what seems to be an old out-house, all the while her mesmerizing soundtrack (as Kuupuu) further adds to the air of languid eerie wonder. Lines And Pulses The culmination thus far of Helliwell's experiments with flicker film - an immersive, head on, varied, vivid excursion through concentric circles and lines - horizontal, vertical, wavy and joyous, filmed frame by frame, bleached and coloured with ink. Helliwell's homemade, rewired soundtrack further breaks down the barriers. Hameenkatu It's a simple idea...a journey by car or tram all the while filming from the window...but with chance and Sanpakkilia's painterly eye this journey becomes a thrilling succession of abstract shapes composed of fleeting buildings, skies and people, perfectly fueled by Sänpäkkilä's (as ES) minimal, tone score. Trevor Steina continues her investigation into the interaction between processed sound and image. Here she manipulates footage of electroacoustic music composer (and Friday's headline act) Trevor Wishart at a studio microphone, electronically morphing his words into a stream of synthesized sound. Plazmatic Blatz |
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