Festival programme:

MF'2003 (.doc-file)
 

Competition program

Nominations:
Trash aesthetics
Trash ideology
Trash technology

See the list of  participants >> 
 

Film program

TRASH: between hack-work and avant-garde Cuated 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.

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”.

Joel M. Reed «Blood Sucking Freaks», 1976, USA, 91 mins. The film of «Other cinema» line supplied by Carmen cinema company.

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».
 
EvgeUSA, Jufit «The Spring», 1987, USSR, 12 mins
Andrei Mertvy «Corpse-hunting urine killers», 1988, USSR, 11 mins
EvgeUSA, 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.
  

Video program
  

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.

Kain Karawahn Magischer Schnittplatz, 1994, GER, 7 mins Bas van Koolwijk Five, 2002, NL, 3 mins Michaela Schwentner The Future of Human Containment, 2002, A, 5 mins reMI Zikfijergijok, 2003, NL/A, 3 mins Anna Anders Cleaner Clip, 2003, GER, 1,5 mins Joep van Liefland Car Fuck, 2000, NL/GER, 5 mins Joep van Liefland Doggiedoggie, 2001, NL/GER, 5 mins Helmut Dick Koffiezetapparaat (Coffee Machine), 1999, GER/NL, 1’10 mins Helmut Dick Ballerina, 2000, GER/NL, 1,5 mins Pedro Titanic, 2001, F, 0'44 mins Pedro The Party, 2001, F, 0'54 mins Pedro Only You, 2001, F, 1'17 mins Joep van Liefland Splatter Orgasm I - Sugar Pussy, 2003, NL/GER, 1'26 mins Brian Doyle Current, 2001, USA 6 mins Emily Vey Duke, Cooper Battersby The Fine Arts, 2002, CAN 3'38 Jeroen Offerman The Stairway at St. Paul's, 2002, NL/UK/GER, 8 mins   Total running time: appr. 60 mins. READ MORE >>

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.

Paul Bush Pas de deux de deux, 2002, UK, 2 mins Paul Bush Furniture Poetry, 2000, UK, 4 mins Paul Bush Busby Berkeley’s Tribute to Mae West, 2003, UK, 2 mins Stuart Marshall/ Neil Bartlett The Pedagogue, 1988, UK, 10 mins John Smith The Waste Land, 1999, UK, 5 mins Sebastian Wrong Bearly Alive, 2003, UK, 3 mins Matt Hulse Take Me Home, 1997, UK, 8 mins Matt Hulse Hotel Central, 2000, UK, 8 mins Paul Tarrago Human Error in the Mechanical Age, 1997, UK, 12 mins Bev Zalcock/Sara Chambers Oh Odessa!, 2001, UK, 5 mins Bev Zalcock Secret Love, 1992, UK, 3 mins Oliver Harrison Love is All, 2001, UK, 6 mins Matt Hulse That Kilty Feelin', 1994, UK, 2 mins Total running time: 68 mins. READ MORE >>

Microcinema International presents: INDEPENDENT EXPOSURE  All Animation Edition 2003 Curated by Joel S.Bachar, New York Kota Ezawa The Simpson Verdict DVD, USA; 3 mins Julia Sarcone-Roach Call of the Wild 35mm, USA; 8 mins Stephan Larson Duality (balance), 3D Computer Animation, USA; 3,5 mins Yoo Jung Lee Clay, 16mm, USA; 2:10 mins Shizuko Tabata Childhood, Super-8mm, Japan, 2,5 mins Lev/www.ingredientx.com Tales Of Mere Existence, DV, USA; 7 mins Nyeland Newel Sugar-Coated Girl, DV, USA; 3mins Jonathon Hodges Camouflage, 35mm, UK, 7:56 mins Baerbel Neubauer Roots 35mm, Germany, 3:40 mins Signe Baumane Love Story, 16mm, USA; 3,5 mins Jeff Drew Walk, Digital Animation, USA; 6 mins Steve Whitehouse Kunstbar, Flash Animation, CAN, 3:55 mins Total running time: appr. 60 mins. READ MORE >>

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.

Dominique Vézina Que Sera Sera, Québec, 1998, 2:36 mins. Marik Boudreau Mascara, Québec, 2001, 2 mins.  Ève-Lucie Bourque La Porte du Soleil, Québec, 1999, 10:06 mins. Marie-Pascale Bélanger F.U.I.T.E, Québec, 2002, 3 mins. Laetitia Bourget L'Hygiène corporelle: pour une anthropologie de l'Homme moderne Bodily Hygiene An Anthropology of the Modern Man, France, 1998, 9,5 mins. Jeremy Drummond Blu eprint, Canada, 1999, 4 mins. Laetitia Bourget 7121 Images du sexe de l'autre 7121 Images of the Other's Sexual Organ, France, 2001, 5 mins. Dayna McLeod Master Libation, Québec, 2002, 4: 50 mins. Jeremy Drummond Stallworks: Act 2, Canada, 1999, 2:16 mins. Jeremy Drummond Spit, Canada, 2000, 2:.27 mins. Jeremy Drummond Stallworks: Act 3, Canada, 1999, 2: 16 mins Laetitia Bourget Recyclage Recycling, France, 1999, 3 mins. Total running time: appr. 55 mins. READ MORE >>

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.

Peggy Ahwesh She Puppet, 2001, USA, 15 mins Julio Soto Invisible Cities, 2002, USA, 6:13 mins Robby Abate One Mile Per a Minute, 2002, USA, 10 mins Dave McKenzie Karaoke Dream Machine, 2002, USA, 6 mins Patty Chang Fountain,1999, USA, 5:33 mins Forcefield, excerpt from ZMTRX Berry Face, 2002, USA, 3:51 mins., Meta Radeo, 2003, USA, 3:02 mins  Gabriel de la Mora Sin Titulo (Untitled),2003, USA, 2:30 mins Kirsten Stoltmann Sailor Lady, 1999, USA, 3:40 mins Alix Pearlstein New Man, 2001, USA, 1:46 mins Abbey Williams YES, 2002, USA, 4:05 mins Peter Geschwind Sound Cut, 2002, Germany, 2 mins. excerpt Joseph Maida Hotshots, 2000, USA, 4:50 mins. Clifford Owens California Love,2002, USA, 1:00 mins. Leah Gilliam Apeshit, 1999, USA, 6:23 mins. Damian Catera Weapons Of Mass Banalization, 2002, USA, 2:50 mins.

This program was made possible through the support of CEC International Partners, New York State Council on the Arts- Electronic Media and Film Program, and Art in General’s general operating support. Total running time: appr. 83, 5 mins. READ MORE >> Russian Video Program: call for submitions

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

Jan Krogsgaard & Smike Käszner Fuckable / Unfuckable, 2001, 3:24 mins Svend Thomsen Square A1, 1996, 4:30 mins Sebastian T. Bülow What a wonderful world, 2001, 1:30 mins Thomas Seest Cupboard refusing assesment, 1999, 1:00 mins Helle Lorenzen Pegasus meets crazy tiger, 2001, 3:15 mins Torben Søborg Peace in our time, 2002. 3:06 mins Molly Haslund Sleepwalk variety, 2000, 2:30 mins Maibritt Rangstrup Sugar, 1999, 2:24 mins Carsten Schmidt-Olsen Compression, 1993, 2:47 mins Cecilie Rosdahl Elena, 2003, 6:43 mins S. A. Soerensen Serial, 1999, 2 mins Tine Kortemand Hansen Broken heart Svend Thomsen Square Squares, 1994, 1:31 mins READ MORE >>

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".

«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.