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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
Hungry plant debris I rescued along the road. This was three debris balls, but upon relocating to a safer shoot location -- one that didn't involve cars whizzing by -- they became enmeshed, becoming bigger and soon began demanding to be fed more and more until...
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
In 2013, mother nature seismically devastated the Midwest, with tremors and liquefied river soil - sinking and disfiguring buildings, bridges, silos, floodwalls, levees, and piers. Just days later, she inundated the liberated river with a multi-day rainstorm on top of a snow melt from the blanketed upper watersheds. With waters surpassing the ferocity and volume of 1993, the floodplain was again a floodplain - after generations of hydrological deprivation and exploitation for the sake of agri-business, trucking, barge freight, and rail connectivity. Upstream debris of all sorts drifted and collected over the flat and ravaged river valley, and further damaged the already shaken , sunken, and disfigured human structures that crisscross it. With the river's course rearranged by the earthquake, a new path of least resistance leads it through an East St Louis whose biodiversity has reached a renewed breadth and depth. Flora and fauna have begun reclaiming, remediating, and revitalizing the restless landscape. Up on the Missouri bluffs, West St Louis' was spared by the flood, but the quakes left thousands of the ever-present brick buildings – homes, old mills, factories, banks, schools, and even Budweiser, in piles. The occasional overbuilt holdout of reinforced concrete or steel survived and remained trustworthy. After the call for evacuation, those who hid and refused to leave, and those who sneaked in from outside began a mythical American chapter of recovery together - a necessarily communal process.
Huddled around small fires in the chill of early spring, the reluctant St Louisian survivors and the inspired newcomers found kinship with one another, the landscape of ruin, and the wildlife now given free reign of the leveled city – now more vacuous and porous than ever before. The tremors made way for the many parks and cemeteries to spread their wealth of flora, and collapses and cave-ins revealed long-forgotten creeks and streams once covered over by streets and buildings. Under the pavement, gravity and water had conspired to carve valleys and canyons over the ages, which now vein and drain the city on the bluffs. With those waterways surfaced, and reforestation begun, the already sparse and sprawling city was overcome and reincarnated by the reestablishment of ecosystems – in a disorienting yet gratifying reversal of human domination.
The earthquake's disintegration of formerly impermeable surfaces and buildings was only the beginning. With cooperative partnership with nature, rather than perpetuation of willful ignorance, abuse, and plundering, a guided restoration of local wildlife and hydrology continues to foster an increasingly balanced, democratic, and biophilic ecotropolis whose citizens bolster environmental resiliency, and take on the slow but righteous task of transforming the St Louis flood plain into a giant kidney filtering the upper Mississippi. This is made possible by the parallel evolution of new infrastructural networks for the transfer of electricity, information, education, necessities, people, goods, and raw materials.
Based on a communal village unit, the city is shaped by socially, ecologically, and topographically dynamic neighborhoods and towns composed of a mixture of transients, the seasonally migratory, those who live and sleep where their work takes them, and those whose work and workplace is more predictable. It is an emergent and consensus-guided phenomenon made possible by egalitarian representation - and reinforced by putting the health of nature above all things, with faith in knowing that with time, all other things will be improved by the benefit of nature. The ecotropolis enables the patient and persistent integration, cultivation, re-conceiving, and restructuring of human and ecological value within the landscape, cityscape, and riverscape here - which for too long has been alarmingly devoid.
An army of horticulture and ecology-steeped denizens sustains a social movement that reconciles and harmonizes with the natural world in the aftermath of human devastation. It is a collective process that slowly but surely breeds a multivalent 'best' of the rural with the 'best' of the urban. As the ecotropolis matures, it continues to further enmesh east and west St Louis, and grows from a modest yet immense foundational economy of building materials wed with the fruits of agroforestry, permaculture, and ecosystem restoration.
With cues from Quakerism, Buddhism, elves, and the mound builders of Cahokia, the neo-native sylvans are unified and empowered by cooperative devotion to reducing and eradicating harmful human impact. They rally under a campaign of ecological remediation, restoration, and reinvention.
The new human presence here initiates, catalyzes, and accelerates the return of diverse ecosystems. Renewing biological 'infrastructure' for it's own sake in the presence of human communities demands not only a evolution of built form, but evolution of human behavior and lifestyle. A new thriving culture is afoot here – one founded upon better understanding and minimizing human impact, simultaneously merging environmental responsibility into a holistic cultural sense of citizenship and civility. The sylvans are a heartening example of what can be accomplished by creating low impact human niches, thanks to 'mid-tech' inventioneering, do-it-yourself spirit, the freedoms of transience, the power of community, and a local abundance of obsolescence, flotsam, and abandoned infrastructure, coupled with expanding and emerging renewable electricity production, agricultural self sufficiency, and capable minds and bodies.
Second only to reconciling with nature, the opportunistic re-metabolizing and re-appropriating of compromised and obsolete infrastructures is woven into the vision and creation of St Louis United. Acting as a substrate, this human network facilitates an emergent, bottom-up, mid-tech, built environment - and intimately embeds sylvan life among the resurgent ecosystems; where they can best hasten and amplify nature's return. In such a context the sylvans situate themselves so that they can best recognize and realize opportunities for reciprocation and symbiosis. They are meek, but they are not inheriting the earth so much as the earth is inheriting them - as shepherds of remediation.
As the gateway to the west and distribution hub of the American heartland was violently and duly brought into an era of reflection – it was also a call to forge self reliant and self sustaining internal communities after the far reaching connective infrastructure serving it's economic lifeblood was crippled, drained and washed away on the swollen river. The sylvans have answered the call, and amidst the ruins and entangled scatterings of drift debris, a city unlike all before it emerges through an accumulative scavenging, reuse, repurposing, and unprecedented reshaping of where, how, and why space is occupied. The quake and flood spurred a renewed awareness of the historic incongruences between humans actions and nature, and the unfolding and unpredictable realities of a scorned Mother Earth in the inevitable and unfathomably complex trajectory of recoil. A new generation of citizens, cultivators, designers, and stewards – here and everywhere – have entered an era which rethinks and enacts new posturing, mediation, and integration of the built environment with nature.
The crises visited upon East and West Saint Louis has united the two under a common cause of environmental and social justice – accepting and loving all who will abide by their code of earth first. The two halves of St Louis, once divided by an unnaturally swift and narrowed river, are now joined by a network of arching bridges – a vascular tissue of transit and human habitat interwoven and immersed in the vibrant flux of flora, fauna, and the great Mississippi. The sylvans have made themselves a history and a future here, among the roving archipelagos, shifting swamps, and marshes - all again fed and drained by a broader, shallower, and much more dynamic river. From these interconnected and interdependent urban villages, a vision continually evolves to build and grow the world's most biophilic city. The city is textured with a finer weave of modest and local-centric urban fabric, more in tune with the wildlife, waterways, and fertility that brought both the mound building natives of Cahokia and the westward bound pioneers to this mystifying landscape, and the confluent waters that connect and run through it.
Map imagery created from NASA relief map & esri GIS data
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
Performance by Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE: The Utopian Body], 2017. Reenactment executed by the original performer, Eduard Escoffet. Presented in the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 13 December 2018. Photo: Noemi Jariod. Courtesy the artist.
Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
A dramatic extract from the fifth act of ‘TOUR DE FORCE’ (2017), which has only previously been witnessed by an audience of six people in the setting of a white limousine driving on a route through Barcelona. The project as a whole puts together a conceptual history of the HIV/AIDS pandemic—from the fear and stigma surrounding diagnosis and infection in the 1980s and 1990s to the possibility today of its management and control via pharmaceutical compliance.
This performance corresponds to the latter historical context, addressing the complexities of understanding the disease in an epidemiological sense and as a symbolic phenomenon enmeshed with global governance, human rights and civil liberties. A performer dressed in black leather garments makes a ritualistic reading from a mobile device, listing the dates on which new antiretroviral drugs have been approved for use in the US, beginning from 1987. The brand names of each of the medications join the litany of dates, and the pill trademarks are repeated as though they were figures worthy of veneration: Saint Genvoya, Saint Stribild, Saint Odefsey, etc.
The subtitle refers to a 1966 radio broadcast by the philosopher Michel Foucault, known for his histories of healthcare and sexuality, who in 1983 became the first public figure in France to die from an AIDS-related illness.
© Text by Latitudes
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts: The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
—> info: ajuntament.barcelona.cat/centredart/en/projectes/anterior...
Photo credit - Alex MacLean Ad Design - Mark Ovietta/TCLF
BRIDGING THE NATURE-CULTURE DIVIDE
JUNE 4, 2011: JAY HERITAGE CENTER, RYE, NY
PRESENTED BY: THE CULTURAL LANDSCAPE FOUNDATION AND JAY HERITAGE CENTER
Sponsored by ASLA, Preservation League of NY State, New-York Historical Society with support from Con Edison
Suzanne Clary introduced a panel that included keynote speaker Charles Birnbaum and an esteemed collection of landscape experts including Patricia O'Donnell, Rick Darke, Cheryl Barton, Doug Reed, and Thomas Woltz.
Abstracts
Cheryl Barton, FASLA, FAAR
Contested Landscapes: Ethics of Place
I work as an evolutionist, not as a preservationist. In my view, cultural landscape preservation/restoration/reconstruction/rehabilitation) is a sub-set of sustainable design thinking. Nature trumps all, as climate change is making abundantly clear, and cultural landscapes must respond to this reality. Places—sites, landscapes—are seldom a tabula rasa. They are layered and encoded: natural and cultural strata are deeply enmeshed in a site narrative. As a designer, it is my role—privilege, really—to decode these layers and interweave the next layer into the palimpsest in a way that is clear and that does not entirely erase the existing narrative.
I am concerned about the prevalence of freeze-dried landscapes—the rigid interpretation of preservation guidelines by those who do not understand landscape systems. Consequently, my work is about hybrid and transformative landscapes rather than pure cultural landscapes.
Rick Darke
The Dynamic Nature of Cultural Landscapes
The dynamic nature of cultural landscapes is key to their continuing relevance. As the cultural lens through which we observe crafted landscapes evolves, so does our perspective on ‘Nature’, which Raymond Williams suggested is merely “a singular term for the multiplicity of things and living processes”. Is the potentially overwhelming vibrancy of today’s ecology—which is the direct result of a frenzy of cultural activity - an inescapably destructive force? To what extent might it be a new weft weaving through the warp of historic places, creating new patterns of meaning? It is possible for the essential narratives of cultural landscapes to be sustained in part by the uncertainties of evolving ecology?
Using a diversity of wild habitats and cultural landscapes for illustration, I will discuss how his design and management philosophy regarding shared value systems has evolved in an age when the only certainty is the accelerating pace of change.
Patricia M. O'Donnell, FASLA, AICP
The Jay Property & Marshlands Conservancy: Conflict & Balance for Cultural & Natural Values at a National Historic Landmark Property
Heritage Landscapes completed the Marshlands Conservancy & Jay Property Cultural Landscape Report, History, Existing Conditions, Analysis & Treatment, (MJ CLR) in 2004. It addresses two distinct properties: the Jay Property and the adjacent Marshlands County Park. Together they are a rare example of an evolved regional landscape. Today the Marshlands & Jay Property have several stewards: Westchester County Parks, New York State Parks and the Jay Heritage Center, addressing the historic core landscape and buildings of 23 acres; and Westchester County's Marshlands Conservancy, managing the 137+ acres for natural resource and habitat values.
With different missions, uses, advocates and management objectives, conflicts continue between these apparently competing agendas, and there are inherent tensions between the neighboring property stewards. These resources are valued for different reasons, ecology and habitat versus historic significance, however, as the cultural landscape report indicates, compatible management can embody both. Landscape treatment recommendations address preservation with combined restoration of specific character-defining features and conservation stewardship. From both cultural and natural landscape perspectives, the way forward engages multiple values, involves collaboration and must be holistic and sustainable.
Douglas Reed, FASLA, FAAR
Building the Case for Continuity and Change: Bennington College and the Clark Art Institute
As landscape architects, we often engage in the practice of helping stewards of culturally significant landscapes argue for change in ways that preserve heritage and develop viable and relevant uses—all in the service of interpreting the meaning of a place for the greater culture. And to do this—to realize and sustain ideas about landscape continuity and change—our work must also encompass plans for managing the physical, ecological, and economic realities of a property.
Reed Hilderbrand’s work at Bennington College and the Clark Art Institute, landscapes not identified per se as historically significant, exemplifies an approach to design rooted in ideals of preservation practice. At these sites, as in all of the firm’s work, design and management plans are founded on the assessment of layers of cultural imprint and the evaluation of ecological systems—the evidence of each property’s unique character and identity.
Working at these two institutions over more than a decade, the firm has joined with administrators, stakeholders, caretakers, scientists, and scholars, and engaged governing regulatory agencies, to shape strategies for preservation and change. Each site exemplifies a complex and highly variable process to rehabilitate the landscape and sustain vision through incremental implementation.
Thomas Woltz, CLA, ASLA
Collaborative Design Process in Conflict Resolution in Historic, Agricultural, and Working Landscapes
I will review a number of case studies from Nelson Byrd Woltz Landscape Architects' portfolio that demonstrate successful collaborations between landowners, landscape architects, conservation biologists, and historians in which potential conflicts of nature and culture have been resolved through the firm's design process.
In addition I will review the complex issues facing land stewards when dealing with a variety of conflicting situations including: Invasive plant and animal management in disturbed ecological contexts of productive farmland in Virginia and northeastern states; negotiating sensitive archeological sites at Monticello, home of Thomas Jefferson, while restoring a vision of the cultivated landscape, now overgrown with successional forest; and the preservation of sacred Maori earthworks in the midst of active agricultural land in New Zealand. Management of these landscapes can also become an important part of interpretation through demonstration of harvest patterns, management of open space using fire, designed reforestation, and by making evident the management tools in use.
Finally, I will discuss how collaboration with disciplines outside of landscape architecture can help build a framework for resolving the potential conflicts between culture and nature
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
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A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
------------------
This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
BRIDGING THE NATURE-CULTURE DIVIDE
JUNE 4, 2011: JAY HERITAGE CENTER, RYE, NY
PRESENTED BY: THE CULTURAL LANDSCAPE FOUNDATION AND JAY HERITAGE CENTER
Sponsored by ASLA,Preservation League of NY State, New-York Historical Society with support from Con Edison
Sign up at www.tclf.org
Abstracts
Cheryl Barton, FASLA, FAAR
Contested Landscapes: Ethics of Place
I work as an evolutionist, not as a preservationist. In my view, cultural landscape (preservation/restoration/reconstruction/rehabilitation) is a sub-set of sustainable design thinking. Nature trumps all, as climate change is making abundantly clear, and cultural landscapes must respond to this reality. Places—sites, landscapes—are seldom a tabula rasa. They are layered and encoded: natural and cultural strata are deeply enmeshed in a site narrative. As a designer, it is my role—privilege, really—to decode these layers and interweave the next layer into the palimpsest in a way that is clear and that does not entirely erase the existing narrative.
I am concerned about the prevalence of freeze-dried landscapes—the rigid interpretation of preservation guidelines by those who do not understand landscape systems. Consequently, my work is about hybrid and transformative landscapes rather than pure cultural landscapes.
Rick Darke
The Dynamic Nature of Cultural Landscapes
The dynamic nature of cultural landscapes is key to their continuing relevance. As the cultural lens through which we observe crafted landscapes evolves, so does our perspective on ‘Nature’, which Raymond Williams suggested is merely “a singular term for the multiplicity of things and living processes”. Is the potentially overwhelming vibrancy of today’s ecology—which is the direct result of a frenzy of cultural activity - an inescapably destructive force? To what extent might it be a new weft weaving through the warp of historic places, creating new patterns of meaning? It is possible for the essential narratives of cultural landscapes to be sustained in part by the uncertainties of evolving ecology?
Using a diversity of wild habitats and cultural landscapes for illustration, I will discuss how his design and management philosophy regarding shared value systems has evolved in an age when the only certainty is the accelerating pace of change.
Patricia M. O'Donnell, FASLA, AICP
The Jay Property & Marshlands Conservancy: Conflict & Balance for Cultural & Natural Values at a National Historic Landmark Property
Heritage Landscapes completed the Marshlands Conservancy & Jay Property Cultural Landscape Report, History, Existing Conditions, Analysis & Treatment, (MJ CLR) in 2004. It addresses the Jay Property and adjacent Marshlands County Park acreage, which is a rare example of an evolved regional landscape. Today the Marshlands & Jay Property have several stewards: Westchester County Parks, New York State Parks and the Jay Heritage Center, addressing the historic core landscape and buildings of 23 acres; and Westchester County's Marshlands Conservancy, managing the 137+ acres for natural resource and habitat values.
With different missions, uses, advocates and management objectives, conflicts continue between these apparently competing agendas, and there are inherent tensions between the neighboring property stewards. These resources are valued for different reasons, ecology and habitat versus historic significance, however, as the cultural landscape report indicates, compatible management can embody both. Landscape treatment recommendations address preservation with combined restoration of specific character-defining features and conservation stewardship. From both cultural and natural landscape perspectives, the way forward engages multiple values, involves collaboration and must be holistic and sustainable.
Douglas Reed, FASLA, FAAR
Building the Case for Continuity and Change: Bennington College and the Clark Art Institute
As landscape architects, we often engage in the practice of helping stewards of culturally significant landscapes argue for change in ways that preserve heritage and develop viable and relevant uses—all in the service of interpreting the meaning of a place for the greater culture. And to do this—to realize and sustain ideas about landscape continuity and change—our work must also encompass plans for managing the physical, ecological, and economic realities of a property.
Reed Hilderbrand’s work at Bennington College and the Clark Art Institute, landscapes not identified per se as historically significant, exemplifies an approach to design rooted in ideals of preservation practice. At these sites, as in all of the firm’s work, design and management plans are founded on the assessment of layers of cultural imprint and the evaluation of ecological systems—the evidence of each property’s unique character and identity.
Working at these two institutions over more than a decade, the firm has joined with administrators, stakeholders, caretakers, scientists, and scholars, and engaged governing regulatory agencies, to shape strategies for preservation and change. Each site exemplifies a complex and highly variable process to rehabilitate the landscape and sustain vision through incremental implementation.
Thomas Woltz, CLA, ASLA
Collaborative Design Process in Conflict Resolution in Historic, Agricultural, and Working Landscapes
I will review a number of case studies from Nelson Byrd Woltz Landscape Architects' portfolio that demonstrate successful collaborations between landowners, landscape architects, conservation biologists, and historians in which potential conflicts of nature and culture have been resolved through the firm's design process.
In addition I will review the complex issues facing land stewards when dealing with a variety of conflicting situations including: Invasive plant and animal management in disturbed ecological contexts of productive farmland in Virginia and northeastern states; negotiating sensitive archeological sites at Monticello, home of Thomas Jefferson, while restoring a vision of the cultivated landscape, now overgrown with successional forest; and the preservation of sacred Maori earthworks in the midst of active agricultural land in New Zealand. Management of these landscapes can also become an important part of interpretation through demonstration of harvest patterns, management of open space using fire, designed reforestation, and by making evident the management tools in use.
Finally, I will discuss how collaboration with disciplines outside of landscape architecture can help build a framework for resolving the potential conflicts between culture and nature
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
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www.instagram.com/jayheritagecenter/
A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
The Girl-Goldsmith
Yr Euryches
Girl-goldsmith of the garland-
Circlet of birch leaves, her gold
Gleaned from twigs – a woodland gift,
Gain of patience, goodly graft,
Gilt through craft of growth and love
In her smithy of glittering leaves –
Garners praise: molten silver.
Love’s ardour is her solder.
Her beauty is the treasure
Where dew drips like a tear,
A gem distilled, fed by roots,
Garland twisted from the shoots
Growing in the hilltop grove.
She twists, winds. Her hand engraves
Bright sigils to bind my heart,
Thumb and finger keeping hold
Of each wire. Fire of amber
Glows like a dying ember
In a torc or tarnished brooch.
More beautiful by far: birch
Woven like wicker. True worth
Is her troth, knit in a wreath.
I treasure my birch garland –
Tortured by such hard longing –
Hold it to my heart. It hurts
To clutch it through summer’s heat,
But I am bound by it. Cool
Autumn refines it. How cruel,
Her art! More fool me - trusting
To twigs of Morfudd’s twisting,
My breast riven by desire,
Smelted with her summer-fire.
Skilful witching! By my word,
She works jewels out of wood,
To shame Siannyn! My praise
And slavery is the price.
Lucky is the man who finds
Himself in the woods, entwined
Between her enamel legs,
Enmeshed in her twist of twigs.
Poem by Dafydd ap Gwilym, paraphrased by Giles Watson, 2011.
The picture shows the Cuerdale Hoard, c. 905, in the Ashmolean Museum. These items are in fact made of silver; photography sometimes works its own alchemy!
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
------------------
This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
Part of Juan Muñoz's sculpture Last Conversation Piece at The Hirshhorn Museum.
Juan Muñoz
Spanish, born Madrid, 1953 - 2001
Last Conversation Piece, 1994-95
Juan Muñoz came to prominence in the mid-1980s with his gallery installations, in which a single figure or architectural element was isolated spatially through perspectival techniques. Often the figure was a clown or dwarf, and the effect was one of alienation. In 1989, Muñoz began his figurative “conversation pieces”-a Renaissance concept, revived by modern sculptors such as George Segal, in which one or more figures interact with their setting to generate a mood or narrative. Muñoz’s works invite interpretation, but their meaning is never fully explained, as the artist strove to create an enduring sense of mystery.
The figures in Last Conversation Piece stand directly on the ground, inviting viewers to become part of the action. Initially inspired by a ventriloquist’s dummy, these curious characters resemble stuffed toys, particularly the round-bottomed punching-bag clowns that bounce back up after being hit. They also refer to the dwarves painted by Diego Velázquez in the seventeenth century and to the overlapping images of dancers by Edgar Degas in the nineteenth. The three central figures are enmeshed in an emotional confrontation with an unspecified narrative. One protagonist aggressively pushes the central personage, whose body curves back in spontaneous recoil; another leans in closely as if to murmur. Each posture and gesture suggests urgency and concern, tension and empathy. Nearby, two ancillary figures lean forward, as if moving into the drama, but their inability to move quickly frustrates their desire to intervene.
Text adapted from Hirshhorn Museum and Sculpture Garden: 150 Works of Art (1996), entry by Valerie J. Fletcher.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
The southern gate in the city walls of Kos, which were built in the years 1391-1396 by the Knights Hospitaller for the defense of the town. Over the gate the three coats of arms embedded in the wall still can be seen; they are (from left to right): the coat of arms of Juan Fernando Heredia (the Grandmaster of the Order in the years 1377-1396), the coat of arms of the Order of St John, and the coat of arms of a German knight and architect Heinrich Schlegelholt.
After the fall of the Kingdom of Jerusalem in 1291, the Knights Hospitallers (The Sovereign Military Hospitaller Order of St. John of Jerusalem) were confined to the County of Tripoli and, when Acre was captured in 1291, the order sought refuge in the Kingdom of Cyprus. Finding themselves becoming enmeshed in Cypriot politics, their Grand Master, Guillaume de Villaret, created a plan of acquiring their own temporal domain, selecting Rhodes to be their new home. His successor, Fulkes de Villaret, executed the plan, and in 1309, after over two years of campaigning, the island of Rhodes surrendered to the knights. They also gained control of a number of neighboring islands of Dodecanese, including the island of Kos - which quickly became a strong fortress in the sovereign state of the Order.
The Knight Hospitallers grew stronger on Rhodes. They had received some benefit from the dissolution of the Knights Templars, and the wealth of their grand priories all over Europe had greatly increased. To some extent, at least, the change was accompanied by a decline in moral standards. The Knights of Rhodes, as they came to be known, maintained their reputation as fighting men.
In 1344 the knights, with the Genoese, retook Smyrna and held it for a short time. In 1365, in conjunction with the king of Cyprus, they captured Alexandria, which, however, they were unable to retain.
The island of Rhodes was an important strategic point, and the Turks on their advance after the capture of Constantinople determined to take it. A heroic episode in medieval military history was the successful defense of Rhodes by the Grand Master Pierre d'Aubusson, against the forces sent by Sultan Muhammad II. But the knights could not summon the means to resist indefinitely, and in 1522 the Grand Master Philippe de L'Isle Adam was forced to capitulate. The Knights left Rhodes and their other strongholds in the region, including Kos, in 1523.
11/1 2016
16x 14 cm
black marker text and drawing on carton
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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
I always think of that great movie when I see a Harley. We passed this one on the road to Lido Beach and I was pleasantly surprised when I came across it, parked, on my walkabout looking for today's challenge.
I've gone with this great bike and thanks to a Google Search for the following:-
The Crystal Skull is a representation of life and Human consciousness, and the Skull Effigy is the honoring of life. The Harley-Davidson Skull and Wings logo represents Death as that honoring of life. The H-D Skull is the reminder that we are here on Earth for our soul purpose, to manifest our destiny. The wings represent freedom. Freedom to use one's own free-will to make our choices, and to discover the Truth. "And you will the know the truth, and that very truth will make you free". This is what a Harley represents -- the freedom of the open road, and all paths leading to the same place. Life and Death enmeshed in the eternal bondage of becoming free.
Our Daily Challenge ~ SYMBOL .....
Apologies for being behind with my comments on all your great photos - I'm afraid to say we are just having too much fun in the sun - but I will catch up with you all ASAP!
Thanks, in advance, to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Update 11/28/06
The Wood family is very thankful for the support we have received in our attempt to rescue Broken Angel. However the building is far from saved and time is running out. Broken Angel is a legally built architectural sculpture, which my father would love to transform into a home for the arts. Broken Angel is viewed by thousands of people who come to see it every year. If this quirky and original structure disappears, Quincy and Downing streets will again become a forgotten corner of Brooklyn. My name is Christopher Wood; I am the son of the creators of Broken Angel. I have lived my entire life in Brooklyn. I have grown up and continue to be enmeshed in a world of art. I am a stone carver and photographer. I have restored many of New York’s cherished landmarks including the Metropolitan Museum of Art, the Cloisters, Grace Church, the Tweed Court house, and currently the main branch of the New York City Public Library. I call on Brooklyn to support and help us restore Broken Angel. Please email or write your local politicians to show your support and help us block the demolition of Broken Angel. If you are a legal professional, we desperately need help fighting the Department of Buildings in court. Additionally those who are willing and able can purchase paintings by my father or my photographs of Broken Angel at Artez’n at 444 Atlantic Ave. Works of art for sale can also be obtained online at www.artezn.com/. I guarantee that a work of art bought this holiday season will retain its value better than a Play Station 3. Please help us and show the developers who want to turn Brooklyn into another skyline of giant buildings that we will not go gently into the shadows of greed and over development. I can be contacted at chriswood718@yahoo.com
Photos of Broken Angel www.flickr.com/photos/onebadapple/
My restoration work www.bandhartinarch.com/
Broken Angel in the press www.nydailynews.com/boroughs/story/471350p-396673c.html
www.sethkushner.com/brooklynites/images_07.html
www.brooklynpapers.com/html/issues/_vol29/29_41/29_41wood...
gowanuslounge.blogspot.com/2006/10/broken-angel-standoff-...
www.nytimes.com/2006/10/18/arts/design/18ange.html?ex=131...
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
------------------
This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.
The visual effect is quite profound, even after initial appearance last summer at Bread & Butter trade show in Berlin. The JS Flames is a derivative of JS Wings 2.0 from designer Jeremy Scott for adidas Originals. A gradual gradient of orange red to light yellow gradually dust the leather upper from front to back. The most striking observable apogee is the “wing” at the heel, now enmeshed into forms of leaping flames.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
From 2009. Under a moderately-high magnification of 2500X, this digitally-colorized scanning electron micrograph (SEM) of an untreated water specimen extracted from a wild stream mainly used to control flooding during inclement weather, revealed the presence of unidentified organisms, which included bacteria, protozoa, and algae. In this particular view, a microorganism is featured, the exterior of which is covered by numerous projections imparting an appearance of a sea urchin. This microscopic “pin cushion” was teathered to its surroundings by a biofilm within which many bacteria, and amoeboid protozoa could be seen enmeshed as well. See PHIL 11781 for a greater magnification of this organism’s exterior.
Though many organisms found in untreated waters are harmless, there are many that are pathogenic to both humans and animals, including Giardia spp., free-living amebae, and E. coli just to name a few. During power outages, the functionality of treated water systems can be negatively affected, thereby, violating the patency of these closed systems. In these instances, advisories may be posted, encouraging inhabitants of these regions to boil their water tap water in order to kill off any pathogenic organisms that may have entered the system due to an intrasystemic drop in positive pressure.
Not only do water treatment plants remove such pathogenic organisms, but chemical that can be injurious to humans and animals are filtered from the water making it potable. Again, during power outages, or in the case of broken pipes, chemicals can contaminate tap water rendering it unsuitable to drink as well.
Photo Credit: Janice Haney Carr, CDC
A visitor can be observed through the wooden lattice façade of the Japan Pavilion at Expo Milano 2015, connecting the inside of the pavilion to the world outside.
At two minutes before noon on Thursday, June 18, 2009, 146 years after Lincoln signed the Emancipation Proclamation and 150 days after a black man took the presidential oath of office, the United States Senate, in a unanimous voice vote, apologized to African Americans for slavery and the racial discrimination during the Jim Crow era. It’s about damn time!
Introduced by Iowa Democrat Tom Harkin, and co-sponsored by 21 other senators, the resolution acknowledged that it is important “for the people of the United States, who legally recognized slavery through the Constitution and the laws of the United States, to make a formal apology for slavery and for its successor, Jim Crow, so they can move forward and seek reconciliation, justice, and harmony for all people of the United States.”
And so the Congress, “apologizes to African-Americans on behalf of the people of the United States, for the wrongs committed against them and their ancestors who suffered under slavery and Jim Crow laws.”
The apology notes that Africans were "were brutalized, humiliated, dehumanized and subjected to the indignity of being stripped of their names and heritage” and noted that “the system of slavery and the visceral racism against people of African descent upon which it depended became enmeshed in the social fabric of the United States.”
We know that problems remain. The resolution wisely acknowledges such: “African-Americans continue to suffer from the consequences of slavery and Jim Crow laws--long after both systems were formally abolished--through enormous damage and loss, both tangible and intangible, including the loss of human dignity and liberty.”
Shockingly late timing aside, there are passages of inescapable truth in the resolution that make it worth reading. It says, for example, that “an apology for centuries of brutal dehumanization and injustices cannot erase the past, but confession of the wrongs committed and a formal apology to African-Americans will help bind the wounds of the Nation that are rooted in slavery.”
Glenn Beck: Slavery apology is an affront ‘to the principles of Christianity.’
Jul 31, 2008
On Tuesday, the House passed a formal apology for slavery and racist segregation laws, recognizing that “African-Americans continue to suffer from the consequences of slavery and Jim Crow.” Yesterday, Glenn Beck spent nearly 30 minutes on his radio show mocking the apology. He continued expressing his outrage on his CNN Headline News show last night, during a discussion with Ron Paul. Paul wondered why Congress should apologize, since “we personally weren’t responsible.” Beck claimed that the apology “was a front [sic] to the principles of Christianity“:
RON PAUL: But when it comes to these apologies, you know, why should you and I make the apologies? Why should I apologize for you through a vote in the Congress? At the same time, you know, we personally weren’t responsible, you know, for that. [...]
BECK: Yes, I think it — honestly, it is a front — I’m a Christian. It’s a front [sic] to the principles of Christianity. Forgiveness. Forgiveness. This country, half of this country fought the other half and died to free and to say, enough. This is wrong. We were washed in blood. I know — I mean, good heavens. There’s nothing worse than slavery. Why are we doing this and concentrating on this now?
Mitt Romney: No apologies, but 'victims' comment not elegantly stated
His campaign at a crossroads, Mitt Romney struggled Tuesday to limit political fallout from his dismissive comments about nearly half of all Americans while Republican officials debated the impact of serial controversies on the party's hopes of capturing the White House.
President Barack Obama's White House piled on, seven weeks before Election Day. "When you're president of the United States, you are president of all the people, not just the people who voted for you," said press secretary Jay Carney. He added that Obama "deeply believes that we're in this together."
Romney seemed to say otherwise in a video that surfaced on Monday in which he told donors at a fundraiser that 47 percent of Americans don't pay taxes and believe they are entitled to extensive government support. "My job is not to worry about those people," he said. "I'll never convince them they should take personal responsibility and care for their lives."
Mitt Romney: '47 Percent' Comments Were 'Just Completely Wrong'
Republican presidential candidate Mitt Romney has described his disparaging remarks about the 47 percent of Americans who don't pay federal income taxes as "not elegantly stated." Now he's calling them "just completely wrong."
The original remarks, secretly recorded during a fundraiser in May and posted online in September by the magazine Mother Jones, sparked intense criticism of Romney and provided fodder to those who portray him as an out-of-touch millionaire oblivious to the lives of average Americans. The remarks became a staple of Obama campaign criticism.
Initially, Romney defended his view, telling reporters at a news conference shortly after the video was posted that his remarks were "not elegantly stated" and that they were spoken "off the cuff." He didn't disavow them, however, and later adopted as a response when the remarks were raised that his campaign supports "the 100 percent in America."
Real conservatives can say they're sorry
Mitt Romney hates apologies. That's why he leaped to the conclusion that, in the wake of the killing of Libya Ambassador J. Christopher Stevens and three other State Department employees, the Obama administration had issued an apology for America's actions.
"It's a terrible course for America to stand in apology for our values," Romney declared. "It's disgraceful that the Obama administration's first response was not to condemn attacks on our diplomatic missions but to sympathize with those who waged the attacks."
What Romney called a disgraceful response by the Obama administration to the Libyan killings was in fact a statement issued before the killings by America's Cairo Embassy condemning an anti-Islam film that portrays the Prophet Mohammed as a child molester.
The title of Romney's 2010 campaign autobiography, "No Apology: The Case for American Greatness," makes it clear that his hatred of apologies runs deep. Unfortunately, such hatred ignores history.
Mitt Romney & The Politics Of No Apology
It is a truth universally acknowledged by all pundits worth their salt that campaign books are never worth reading. However the title of Mitt Romney’s 2010 book is worth a glance: No Apology: The Case For American Greatness (St Martin’s Press). It makes explicit Mr. Romney’s philosophy: the case for American greatness rests on never having to say you are sorry. Mr. Romney not only doesn’t apologize. Not apologizing is at the very center of his campaign. Indeed, Mr. Romney has spent the last several years identifying multiple instances of wrongful “apologies”, a disease which he sees as rampant in the current administration.
Mr. Romney issued a statement late on September 11 condemning the embassy press release for constituting yet another Obama administration apology. Apparently the Romney team didn’t realize that the press release, in which the Obama administration had no involvement, was issued before the violence in an effort to avert violence and hence could hardly condemn something that hadn’t yet occurred. The next morning Mr. Romney held a press conference and confirmed his critique of the Obama administration, but without apology for his apparent error.
In his view, the case for American greatness rests on never apologizing. Yet in another sense, Mr. Romney himself has become a self-appointed expert on apologies, identifying case after case where President Obama has allegedly apologized, even in instances where no other observers can detect any hint of an apology or regret. Mr. Romney sees apologies everywhere.
What is the origin of Mr. Romney’s philosophy of never apologizing, even in cases where he makes mistakes or where he unintentionally does harm to others? As Mr. Romney frequently reminds us, he is a businessman and his views draw sustenance from the 20th Century business philosophy: the object of business is to make money for oneself, with no apology to others. If one pursues one’s own self-interest, the whole society will benefit. That is the magic of capitalism. To be sure, some people and even some communities may be hurt in the capitalist process of creative destruction. But the end result is that everyone, and society as a whole, will be better off.
This viewpoint began gathering serious momentum in 1970, when Nobel-prize winning economist Milton Friedman argued aggressively in the New York Times that the only social responsibility of business was to increase its own profits.
. . . Mr. Romney is still unrepentantly embedded in the 20th Century belief of the primacy of pursuit of self-interest, regardless of the effect on society and the world. . . .
However if the 20th Century philosophy of unbridled self-interest without apology is becoming increasingly unacceptable in business, in politics it is even more problematic. In politics, an even-handed concern for the needs and interests of all citizens is the very nature of the game.
The seeming inability of Mr. Romney to apologize for any mistake he may have made or express regret for any harm that his actions may have engendered for others, however unintentionally, is another indication of the respects in which the project of “humanizing” Mr. Romney that was begun at the Tampa Republican convention is incomplete. Willingness to admit mistakes and express regret for having caused unintentional harm to others is ultimately a key part of what it means to be human.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
BOSCASTLE
Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.
Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.
From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.
Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.
From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.
The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.
An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.
Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.
The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".
Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.
The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.
Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.
The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.
Boscastle flood of 2004
A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.
Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.
The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.
Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.