prog: 779


In many places in Europe you can still find some visual artists/filmmakers crazy enough to dare to perform movie installations using film material! In their works, they succeed in deconstructing the projection process in a playful way: They present a living cinema into which the public can stroll. Such installations may take various shapes, from the "movie sculpture" to the spacialization of one or several movies in the same space. They often require special devices for which the set-up can take a long time. The artists sometimes have to create themselves new equipments to perform the projection. Unlike video installations, those movie installations using film include an important involvement of the artists mostly close to manual art. The movies themselves, screened in these installations, reflect this artisanal approach. Join us and enjoy this unique opportunity to discover some film-installations in a former carpet-shop!!

All installations will be shown at Persepolis (see infos) between 6pm and 8pm every nights.

Drawings have always patiently been waiting for us to come to find them... By entering the "image box" visitors will discover films made by children in Brussels, Liège, Namur, Paris, Tunis, Kinshasa, Bujumbura... Films in black & white, projected as loops, which are the result of children discovering how their films can be animated. With some sheets of paper and some pencils, they will make us discover how their drawings can move and be transformed. These films will reveal to us THE WORLD as it is perceived by children aged from 6 to 13 with very different backgrounds.

"There are always two people in every picture: the photographer and the viewer." (Ansel Adams)

Time and memory became the starting points for the photographic project. Furthermore, the desire to study the concept of remembrance through visual space, as a key to deepen our understanding of the influence of time in photography. Therefore, the two installations here presented aim to explore the concept of illusion by creating temporal realities, which question the physical presence within the photographic images. In the course of research, the idea of a box within a box within a box, an interior space within a space within a building, came to be intimately connected to the concept of memory. The project aspires to capture a single individual moment - shown as a series of consecutive still images - which will challenge our perception of illusion as circular anticipation.

In Filmatruc the optical machines are in a constant changing movement; the movements and the dimensions of the screens increase or decrease, they may be virtual or real. The spectator, visitor or player with his/her presence, body, movements will affect the images through shadow and light effects, but also through the manipulation of screens and machines. I connect my work with a certain sensory pleasure, with the awareness of what curiosity could be and the playful interaction I can have with an audience. Filmatruc is a tactile, fleeting and sensitive experience, it involves the audience, but will not belong to anyone. It will only belong to the instant in which it will be experienced. The physical presence of natural elements such as water and wind will participate in the brief materialization of Filmatruc.

Ágnes Háy, a Hungarian experimental filmmaker and graphic artist, well known for her fine line drawings, prepares a special filmless movie installation for the "Rencontre". The idea came from her experiments to recreate calligraphic lines of artists in 3D by using wire. At a point the shadows of these sculptures gave back the original line. However as they are hanging and moving gently they produce other versions of it. While she uses film projectors the wire replaces the film (as an object between a light and a screen) to cast moving shadows. Her installation here in Brussels is based on the linework of the great (but not so well known) Belgian artist Vantongerloo.Belgische artiest Vantongerloo.

Silence... I see blue monkeys, mischief makers. Devil-eyed nocturnal beings from the murky night of time... From the premises of dominant natural instinct and companionship to the use of its influence as a dominant "superior force". These basic behaviour patterns of animals /primates/humans differ only in the conventions of dominated mass behaviour.

In a room, on a screen, where moving images intermix with passing shadows. Where do these images come from? Where does sight stop and movement begin? What is ahead, what comes afterwards? And who is staring at whom?

The Film is separated in two different narrations, one is played back from the optical sound track of the movie, where we listen to a fictional phonecall conversation of "a president and his collaborator, planing a coup for the same night". The images show synchronously a description (projected as a filmscript) of the city by night in which the phonecall takes place.

lang: en
id_rubrique: 801
prog: 779
pos: aval