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MF
program 2003
The program of events
25 June
Filmmakers Union of RF
White Hall
Foyer
13.00
–
18.00
Registration of participants, visitors and press for Media Forum
2003.
14.00 – 15.00
«Trash: between hack-work and avant-garde»
Curated by Milena Musina, Russia – filmcritic, specialist in the frame of experimental avantguard film
Tod Browning: "Freaks", 1932, USA, 64 mins.
The film monsters are usually created by make-up artists, this time they are God's own work. He did a great job: this film features real freaks: a bearded woman, a hermaphrodite, a caterpillar man, dwarfs and Siamese twins - shocked the audience profoundly and was banned. But it was not only the philistines that its director Tod Browning teased. He didn't notice he had insulted the cinema as such.
15.00 – 16.30
«Transference»
A Program of Contemporary Video Works from Art in General
Curated by Jeanine Oleson, Programs Coordinator, Art in General
In this program of experimental short video works, human emotion is explored in terms of alienation, both architecturally and through the mediation of technology, from both popular and historic perspectives. From the co-optation of popular forms such as video games and advertisements to subversive encapsulations of performance within a containing frame, the distance between the artist and the audience or the Self and the Other are interchangeably referenced.
16.30 – 17.30
«Carry on Camping: Wit and Subversion in Contemporary British Artists’ Film and Video»
Curated by Helen de Witt, a film programmer, writer and lecturer, who has worked for the British Film Institute, the Lux Centre for Film, Video and Digital Arts and several London independent cinemas.
Camp is always difficult to define. It is not kitsch, which is bad art miscalculated with the best of intensions; camp art can be good art created with the worst of intentions. It is not the same as gay, but there is a large area of overlap. Camp is the taking of irresponsible delight.
This selection is a startling and awe-inspiring display of sparkling wit and daring subversion of accepted sexual and social manners and morals. The artists in this programme of British experimental film and video dare to crack open the hypocrisy and taboos of modern life, cruelly ridiculing its values and conventions to hilarious effect.
18.00
– 19.00
Official opening of Media Forum
• Speakers: Kirill Razlogov, Russia, art director of MIFF, Alexei Isaev, director of Media Forum, Elena Tschiplakova, chairman of Youth Board (Filmmakers Union of RF), Anatoly Prokhorov, chairman of the Digital Screen Arts Commission (Filmmakers Union of RF), Olga Shishko, Program Curator of Media Forum, Gunter Hasenkamp, Germany, Goethe Institute in Moscow, Kathy Rae Huffman, UK, Director of Visual Arts (Cornerhouse), member of “MF” international board etc.
• Multimedia show
• Jack Smith: «Flaming Creatures», 1961, USA, 42 mins.
The trash manifesto of a American underground cinema, screening which could get one imprisoned. In contrast to intellectual subtlety of works by Maya Derain or Jonas Mekas, Jack Smith has developed his refringent
«aesthetic ravings» style to perfection in «Flaming creatures».
19.00 – 20.00
«Trash: between hack-work and avant-garde»
Jack Smith: "Flaming Creatures", 1961, USA, 42 mins.
The trash manifesto of a American underground cinema, screening which could get one imprisoned. In contrast to intellectual subtlety of works by Maya Derain or Jonas Mekas, Jack Smith has developed his refringent "aesthetic ravings" style to perfection in
«Flaming creatures».
«Club na Brestskoy»
21.30 – 23.00
Festival program screening: «Art-Trash»
Presentation of board membersof MF - 03: Bart Rutten, the Netherlands, Helen de Witt, UK, Milena Musina, Russia, Katherine Liberovskaya, Canada, Bernhard Zerexhe, Germany
Art trash or the trash-aesthetics permanently in vogue in the West allows the culture to rejuvenate and has on the whole a psychotherapeutic effect. The program is structured around major tendencies that we have singled out in cinema, video and multimedia experiments. As any other form of freedom, freedom of artistic creation has two poles - high and low, beauty and horror. We hope our viewer and critic will choose freedom. It's important to mention that the international festival program has become noticeably younger this year without lowering the level of impact. We hope not the jury members but our audience will have the last say...
23.00 – 00.00
Microcinema International presents:
Independent Exposure «All Animation Edition 2003»
Curated by Joel S.Bachar, New York
26 June
Filmmakers Union of RF
Conference Hall
10.30 – 13.30
Round Table «Art-Trash: at the film industry’s backyard»
Moderator – Anatoly Prokhorov, chairman of the Digital Screen Arts Commission (Filmmakers Union of RF).
Today it is necessary to revive the original radicalism of the media-technologies. This is not a problem of technology, but a problem of philosophy and ideology.
Participants: Kirill Razlogov, Russia, art director of MIFF, director of Russian Institute for Cultural Research; Kathy Rae Huffman, UK, director of Visual Arts Cornerhouse; Naum Kleiman, Russia, director of the
«Musei Kino»; Alexei Isaev, Russia, director of «MediaArtLab»; Katherine Liberovsky, Quebec Regional Director, Independent Film & Video Alliance of Canada; Nina Zaretskaya, Russia, director of
«Art Media Center TV-gallery»; Boris Yukhananov, Russia, producer; Milena Musina, Russia – film-critic; Bernhard Serexhe, Germany, director of Museums Communications, ZKM Center for Art and Media, Karlsruhe; Andrei Silvestrov, Russia, producer; Jeanine Oleson and Alix Pearlstein, studio
«Art in General», USA; Irina Kulik, art-critic, magazine «Кommersant»; Nikita Alexeev, artist, magazine
«Inostranez»; Sergei Kuznezov, film-critic etc.
Video Hall
14.00
Closed meeting of jury members
White Hall
14.30 – 16.00
«Heavenly trash»
... the symbols of the divine initially show up at the trash stratum... (Philip K. Dick)
Curated by Jan Schuijren, Amsterdam.
A programme that shows videoworks using influences and elements of trash art being referred to as style, strategy, fashion statement or being used as inspriration.
16.00 – 18.00
«Trash: between hack-work and avant-garde»
Joel M. Reed: «Blood Sucking Freaks», 1976, USA, 91 mins.
The cult of trash is first and foremost the cult of the Troma independent film-making company, that for a quarter of a century has been enthusiastically and sincerely propagating blood, tastelessness and optimism. According to Lloyd Kaufman, the founder of Troma, "Blood sucking Freaks" is not only a cinema trash classic and hack-work horror model -this is "the most fucked-up film in all Troma collection".
The film of "Other cinema" line supplied by Carmen cinema company.
Evgeny Jufit: "The Spring", 1987, USSR, 12 mins.
Andrei Mertvy: "Corpse-hunting urine killers", 1988, USSR, 11 mins.
Evgeny Jufit loved to drop in regularly at the morgue, Andrei Mertvy was moonlighting in a crematorium nevertheless the first film of St. Petersburg's necrorealism was shot at a city dump. The session ended with the authors put under arrest for disorderly conduct. The decision of the expert commission regarding the seized film was close to a trash movie review: "no crime present due to extreme idiocy". In "The Spring" and "Corpse-hunting urine killers" the idiocy has gone beyond limits and changed into a trash ideology, which easily became a domineering one in the postSoviet cultural milieu.
Films of the Cinema Phantom Club collection.
18.00
– 19.00
Microcinema International presents
Independent Exposure «All Animation Edition 2003»
Curated by Joel S.Bachar, New York
19.00
– 20.00
«Art-trash from the Video Wasteland in the Film Backyard»
Curated by Torben Soeborg
The Danish Video Art Data Bank a non-profit agency for promoting and distribution of Danish video art
«Club na Brestskoy»
14.30 – 16.00
Alix Pearlstein, Jeanine Oleson, USA. Workshop for filmmakers and artists. The screening of Alix Pearlstein’s works. Read
more >>
16.00 – 20.00
«Tactical Media Laboratorie»
Moderators: Oleg Kireev, Moscow, David Garsia, Amsterdam
Tactical media are the momentary reaction tools for the artists and activists aimed to disseminate information, establish contacts, create images. Tactical media prefer low technologies, small communities, private interests, amateurs. They use language of communication, intellect, creative participation. They don't represent anyone except for themselves but they call for everybody to use their low budget, non-professional, local, momentary tools. They think this a condition for creating a bright diverse culture, a culture of a civil society.
For now the Tactical Media Laboratories took place at Birmingham, Delhi, New-York, Cluj (Romania), Barcelona, Singapore, Rio, and are scheduled for Zagreb, Dubrovnik, Halifax, Adelaide (Australia) and some other cities.
Since the tactical media agenda is not well known for Moscow we decide to represent it in a maximally broad context. Tactical media are the tools of a new young culture which talk the languages of non-budget cinema, video-activism, non-profit publications, leaflets, sites, and even the street actions intervening into an urban space.
21.00
Program, of Music and Film.
Phill Niblock, New York multi-media artist, has been working since the 1960s with music, film, photography, video and computers. As a contemporary of Cage and La Monte Young and inspired by artists such as Rothko, Judd and Andre, Niblock belongs to the leading representatives of American Minimal Art.
Phill Niblock «Sweet Potato», 2001, 25 mins., for clarinets, Carol Robinson, recorded samples
Phill Niblock «Hurdy Hurry», for hurdy gurdy,1999, 15 mins., Jim O'Rourke, hurdy gurdy samples
Phill Niblock Guitar two, for four, for electric guitars played with e-bows; 1996, 30 mins., original samples by: Rafael Toral, Robert Poss, Susan Stenger, David First; with added parts by Kevin Drumm, Lee Ranaldo, Thurston Moore, Alan Licht, Robert Poss
Playing live: Phill Niblock, computer controlled sampler
Phill Niblock «EZAZ All Notes», 2002, 25 mins., The Art Zoyd Ensemble, recorded samples
Images: Phill Niblock - video from the "Movement of People Working" series, Mexico, Peru, Hong Kong, Hungary.
22.30
Presentation of work «Painting the Painting» (Phill Niblock, Katherine Liberovskaya)
23.00
Programes of: «Videotage» (Hong Kong) and «Perte de Signal»
(Canada)
27 June
Filmmakers Union of RF
Conference Hall
10.30 – 13.30
The presentation of Multimediaprojects:
· «Future Cinema» exhibition in the ZKM Center for Art and
Media, Karlsruhe
Curated by Peter Weiebl and Jeffrey Shaw.
The presentation of Bernhard Serexhe, Head of ZKM | Museums
Communication, will be accompanied by a large video documentary of the
exhibit.
FUTURE CINEMA was the first major international exhibition of current art practice in the domain of
video, film, computer and web based installations that embody and anticipate new cinematic techniques and modes of
expression. These new digital contexts are setting an appropriate platform for the further evolution of the traditions of
independent, experimental and expanded avantgarde cinema. No commercial or industrial working teams а la Hollywood have been
presented, but the individual efforts of artists who overcome or undermine the global standards of the cinema
industry. The Future of Cinema can be delineated from two sources. One way is the expansion of existing cinematographic methods and codes into new
areas. The other way is the convergence of cinema, TV and net.
·
Kathy Rae Huffman, UK – projects of «CornerHouse», Manchester. Web-art festivals “3D –Art»
etc. Cornerhouse is Greater
Manchester's international centre for contemporary visual arts and
the moving image since 1985. Kathy Rae Huffman, Director of Visual
Arts, will discuss two recent new media commissions at Cornerhouse
which emphasize the links between between the real and the virtual.
Balkan Matrix (2003), a residency, website and gallery
installation by Mihael Milunavic and Stefan Vukovic (Belgrade)
explores specific spatial configurations of social life as
filtered through collective perceptive and
evaluative schemes. http://www.balkanmatrix.com
Altzero5 (2003), a commission to Squidsoup and Icarus (UK)
explores the possibilities of using space in sound composition. It
deconstructs everything about the sounds we listen to , and
questions the way we listen. http://www.altzero.com. Altzero5 was part of the first on-line, interactive exhibition of 3D
works:
Lab3D - the dimensionalised internet, 17 May - 22 June, 2003.
Web3D Art (presented at MediaForum in 2000) was a successful
international juried programme included in the gallery, that can
seen at http://www.web3dart.org.
Video Hall
14.00 – 15.30
«Body Arts: Insides, outsides and sidesteps»
Curated by Katherine Liberovskaya, Montreal
The works were selected from the collections of Videographe and GIV video production and distribution centers in Montreal, Canada. Katherine Liberovskaya wishes to thank the organizations and the artists for the loan of their works for this program.
16.00 – 18.00
«Trashure, treasures in Trash»
Curated by Bart Rutten, the Netherlands.
Performance as anti art, as new and cheap means to communicate. Video art as anti television, searching for the uncontrolled and spontaneous story. Especially in the eighties more and more artists started to use staged environments. Board carton became a fundamental material to design their stories. In the late nineties further developed in new forms of animation. And there is the collage of bad television. In the dark eighties established as major genre. Personal favourites of the darker site of the Netherlands Media Art collection.
19.00 – 20.30
Closing of MF - 03, screening of prize -winners and nominated works, presentation of the
awards.
«Club na Brestskoy»
21.00
Multimedia Show «Sequences» a computer interactive stage installation
Computer graphics and scenography Olga Kumeger
Flute solo Maria Fedotova
Guitar solo Maria Prilezhayeva
It is a computer-based performance of real-time interactive videoart and computer-painting/animation on musicians and moving bodies of dancers and other objects.
Unique mechanisms of image creation, special optic lighting effects are used in the performance. Author's method constructs interactive spatial fine-arts stories, painting environment for artist improvisation and it is unique situation when environment became initial core and connecting-link of performance.
The person contacts with symbols and produces new symbols and his actions on the stage are connected with eternal themes of human state: lying, moving, traveling, touching here in a context of city.
22.00 – 23.00
«Russian Low-Tech»
Curated by Oleg Kireev, a Moscow-based art critic, curator, activist
A program of non-commercial and amateur cinema is compiled of the works of young authors who are an "another culture" in contemporary Russia. They're being created outside of the cinema industry, they have no chance for the broad distribution, and they show a hidden side of a luxurious consumerist reality. As the Free and Anonymous Art partisans used to say about seven years ago, "No money and no need!" Gratitudes for an assistance in compiling the program to a director of an over-amateur cinema festival "Styk" Sergey Salnikov and to creative-experimental group "Svoi 2000".
23.00 – 00.00
«Video na kolenke» (Home-made video)
Viacheslav Mizin, Alexander Shaburov (The Blue Noses Group)
The non-conformist art in the Soviet Union had to take the path of exclusiveness and coding. Underground artists created works, using “Aesopian language”, and distributed them only within the circle of like-minded persons and sympathizers, belonging to the diplomatic corps. The subsequent generations of Russian artists inherited this tradition of self-preservation. The present video programme demonstrates the latest tendencies in contemporary art of Russia — approachable, spectacular and funny. These tendencies have ripened not in Moscow, but in the depth of the country, in Siberia and the Urals.
The remoteness from the world cultural centres and the absence of comparatively large receptive groups (like that existing in the metropolis) determined the creative method of The Blue Noses Group. Hence the populism of expressive means and the artists’ striving to make their works universally comprehensible. The main genre — short, brutally humorous films.
Mizin and Shaburov appropriate such genres of mass culture as family photo, video clip, poster, TV series, comic strip.
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