BAMcinématek, Migrating Forms, December 15, 2013
written by Kristen Bisson, Social Media Assistant, The Living Gallery
Migrating Forms Program 3 (Information Source)
- “45 7 Broadway” (Directed by Tomonari Nishikawa) 2013, 5min
An analog portrait of Times Square’s LED present.
- “Mount Song” (Directed by Shambhavi Kaul) 2013, 9min
Half-forgotten spaces are reconstituted into an eerily familiar cinematic new world.
- “A Third Version of the Imaginary” (Directed by Benjamin Tiven) 2013, 12min
An exploration of the material facts of video and film at the Kenya Broadcasting Corporation.
- “Juan Gris Dream House & Popova-Lissitztky Office Complex” (Directed by Jon Rafman) 2013, 2min each
New York premiere. Two entries from Rafman’s Brand New Paint Job project, which uses famous paintings to wallpaper 3D models of houses and offices.
- “Amuse-gueule #1: Digital Destinies” (Directed by Gina Telaroli) 2012, 12min
New York premiere. “An experiment in superimposition and cinematic mediums that ebbs and flows through a fractured layering of images” (MUBI).
- “El Adios Largos” (Directed by Andrew Lampert) 2013, 11min
Archivist and artist Lambert presents a speculative restoration of Robert Altman’s The Long Goodbye.
- “Pepper’s Ghost” (Directed by Stephen Broomer) 2013, 19min
New York premiere. Inspired in equal parts by Michael Snow and your local haunted house.
Migrating Forms Program 4 (Information Source)
- “Warm, Warm, Warm Spring Mouths” (Directed by Ed Atkins) 2013, 13min
“…Pictures the digitalization of existence from the inside, in all its cold alienating surrogacy” (Art Agenda).
- “bbrraattss” (Directed by Ian Cheng) 2013, 3min
Ian Cheng dissolves and re-choreographs a rabbit fight into an abstract motion study.
- “Even Pricks” (Directed by Ed Atkins) 2013, 8min
“… The culmination of a series connected with depression, in both the psychological and the physical sense of the word” (Lyon).
- “Swallow” (Directed by Laure Prouvost) 2013, 12min
Inspired by the artistic and sensuous traditions of Italy, Laure Prouvost presents a collage of a recent Mediterranean idyll, syncopated to the rhythm of her own breath.
- “Critical Mass” (Directed by Kerry Tribe) 2012, 25min
Continuing her career-long investigation into personal and historic memory, Kerry Tribe presents a restaging of Hollis Frampton’s groundbreaking experimental film Critical Mass. Tribe’s reinvention features a single virtuoso take of two actors delivering the lines originally edited by Frampton into a rhythmic, disjointed pattern.
A number of my favorites from the night included: “Mount Song” (Directed by Shambhavi Kaul), “A Third Version of the Imaginary” (Directed by Benjamin Tiven), “El Adios Largos” (Directed by Andrew Lampert), “Warm, Warm, Warm Spring Mouths” (Directed by Ed Atkins), and “Even Pricks” (Directed by Ed Atkins).
The set and fog in “Mount Song” reminded me a lot of The NeverEnding Story’s set and aesthetic, with a little Lord of the Rings thrown in there. I thought that was awesome. It had that dark, starry, fantasy, hidden-in-the-forest landscape and feel to it, and there was a little village, a full moon, and no humans in sight. No creatures really of any kind. Unless you count the fog as creatures. In “Mount Song,” the fog felt activated, as if they were the characters of this short story. They moved, we followed, they traveled, and there was even what looked like an epic dark/light fog battle at one point. There were other possible characters, which took the form of little shining lights traveling at fast speeds across the landscape. The explosions, quick cuts, and set, as I said, reminded me a lot of the fantasy movies of the mid-80s, like The NeverEnding Story. I could have sworn that at one point, in one particular scene from “Mount Song,” we might surely see Falkor dip over top the thick fog bank under the starry sky. Loved that this short film, “Mount Song,” was done in 2013 and accomplished that aesthetic extremely well.
“A Third Version of the Imaginary” (Directed by Benjamin Tiven) was extremely interesting. It featured a library of VHS tapes, the covers all black with white labels, with a man looking through them, apparently trying to find something specific. From listening to the narration, you would learn about different concepts of video, image, memory, and meaning, including such ideas like “video is an amnesic medium.” The narrator spoke about how when film is recorded, how much time, production, money, etc, goes into it, and then it appears on an inexpensive and ephemeral piece of technology like a VHS, stored, and that even the original film is not saved because it is used to make the next film. The narrator explained that in Swahili, words like “video” are inherently attached to a medium, and understood this way, but that there is no “naturally occurring word” for “image” since that word is so detached from any specific medium. The film is an interesting introduction and investigation regarding how technology and language changes and informs each other, simultaneously changing ideas and concepts about the world around us, and ourselves.
I had never seen The Long Goodbye, so my experience with Andrew Lampert’s film “El Adios Largos” would probably be very different had I seen the original. The opening credits still showed the original people for The Long Goodbye, but then for certain credits, Lampert had added his own right next to the originals, so that there were two directors, instead of one, etc. (All part of the humor!) The part of the film Lampert used was the beginning scene, where the main character is feeding his cat, trying to give it human food, then going out at 3:00am to buy it cat food, then trying to fool it into thinking it’s eating its favorite brand, etc, but this cat knows better. The main character also interacts with his female neighbors, who are apparently baking brownies and cookies and whatever at 3:00am. (Why not.) This version of the film, which Lampert had found and used, had been dubbed in Spanish. So, he had it subtitled back into English. And, since the film had been in black and white, Lampert added color to it, often in blocks, shapes, with shifting and imprecise borders, moving, warping, etc. In his talk after the screening, he said had researched to figure out what colors kitchens, etc, were in the 70s, and worked with those color schemes in this piece. Overall, his film, and his talk, were both hilarious, interesting, and lots of fun.
For both of Ed Atkins’ pieces, I was intrigued and captivated by the poetry, the visuals, and the sounds. I was very interested in how he manipulated the 3D animated characters and objects, the repetition of themes with variations each time, the text (in various fonts, colors, styles, etc) and the poetry, the still images mixed in with animated elements and narration, etc. Sometimes, the text, the poetry, had the same font, style, and sound of an epic movie trailer, with all the emphasis and energy that comes with it. His films were amusing, thought-provoking, and inspiring. Definitely worthy of multiple viewings. Anybody interested in animation, either as a viewer and a maker or both, should see these films by Ed Atkins. Quite amazing!
Overall, a really great night with really great short films!
I will be going to the following film screening:
- Migrating Forms Program 5, Tuesday at 9:30pm
Conor O’Brien, also of The Living Gallery, will be going to this screening:
- Running on Karma, Monday at 9:30pm
Please, go check out BAMcinématek’s film series, Migrating Forms!
Let us know in the comments about what you’ve seen or plan to see.