BARGEHOUSE, Room 11, 7-9 June 2017
FESTIVAL SELECTION B
IL GRANDE CRETTO DI GIBELLINA
Petra Noordkamp, The Netherlands, 2017.
An enormous shroud of white cement covers a hillside in the remote of western Sicily. It is both land art and a memorial to the town of Gibellina that was devastated by an earthquake in January 1968. It’s a work by the Italian artist Alberto Burri. He covered the ruins of the town with white cement and fissures function as pathways that wind through an area of roughly 20 acres. Petra Noordkamp captures Il Grande Cretto di Gibellina by Alberto Burri as an experentiental work of art filled with a sense of place and history.
Clara Jo, UK, 2016
‘Tilt’ is an experimental film which creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects. The film uncovers how new 3D imaging techniques utilized by museum conservation departments bypass the need to directly incise into material culture, instead providing a surrogate and abstracted experience of objects for public consumption. The film draws from the Royal Academy of Arts Collections and Archives, folding in material from other London institutions such as the Burlington Courtyard Learned Societies and the Imaging and Analysis Centre at the Natural History Museum.
FRAGMENTS ON MACHINES
Emma Charles, UK, 2013.
Fragments on Machines reveals the physical framework and materiality of the Internet, a vast network often thought and spoken about solely in abstract terms. The title is adopted from a text by Karl Marx, in which he seeks to trace the inversions that mark the relationship between man and machine in the production process of capital whereby, through increased automation, the machine ends up no longer as a tool at the hands of the workers, but as an increasingly dominant power. Taking New York City as its central focus and interwoven with a fictionalised narrative, the film observes the evolution of architecture in the city to accommodate the material nodes and connectors that comprise the physical manifestation of the virtual world. New York is home to many of the great buildings that symbolise nineteenth and early twentieth century industrial capitalism. Today, it is significant that a number of these Art Deco skyscrapers located predominantly in the Financial District have become the containers for the infrastructure of the Internet and virtual capital. These grand monuments of brick and steel are now homes to the servers and computers that drive post-industrial finance capitalism. Highly elusive yet pervasive in their nature, data centres consist of room upon room of copper and fibre-optic cables, computer servers and ventilation systems. With direct links to the companies they serve, these Internet hubs become a kind of unofficial space for trade.
Aurèle Ferrier, Switzerland, 2014.
INFRASTRUCTURES involves a journey through a landscape of infrastructures that are common to an everyday reality of routine. Yet here we find these environments are deserted. This allows attention to focus instead on the design and spatial arrangements of the objects, we find the features of these landscapes – which would not usually bear noticing – become centrally present.
The film involves a series of seven tracking shots. A steady flow of objects in various contrived arrangements passes by the eye. The sound design incorporates the subtle noises given off by these ready-to-use sites devoid of users. Produced in Dolby Surround, the soundtrack both evokes the physical experience of the location and creates a dialogue with these structured spaces and the arrangement and design of the objects therein.
ZAHA: AN ARCHITECTURAL LEGACY
Dir. Laura Mark and Jim Stephenson, UK, 2017.
ZAHA: An Architectural Legacy looks back on Zaha Hadid’s life and the progress of her remarkable career through a series of her key buildings. Featuring interviews with friends and colleagues, including Eva Jiřičná, Patrik Schumacher, Nigel Coates, Giovanna Melandri, Hanif Kara and Ricky Burdett the film is shoot on location in Italy, Germany and England.
Q&A with Laura Mark and Jim Stephenson
VIENNA WAITS FOR YOU
Dominik Hartl, Chile – Austria, 2012
German with Eng subtitles
Anna should have had a closer look at the fine-print of her rental contract – for the old Viennese apartment she occupies is a creature with never ending appetite, living off the youth of its residents.
In partnership with ArqFilmFest and the Embassy of Chile in the UK
LOVE IS THE DEVIL: STUDY FOR A PORTRAIT OF FRANCIS BACON
John Maybury, UK, 1997.
In the 1960s, British painter Francis Bacon (1909-1992) surprises a burglar and invites him to share his bed. The burglar, a working class man named George Dyer, 30 years Bacon’s junior, accepts. Bacon finds Dyer’s amorality and innocence attractive, introducing him to his Soho pals. In their sex life, Dyer dominates, Bacon is the masochist. Dyer’s bouts with depression, his drinking and pill popping, and his satanic nightmares strain the relationship, as does his pain with Bacon’s casual infidelities. Bacon paints, talks with wit, and, as Dyer spins out of control, begins to find him tiresome. Could Bacon care less?