09: Akerman / Dick / Green / Lertxundi

1 April, 2017 - 13:30
Sphinx cinema

 

 

SELECTION 2017

A dialogue between new audiovisual works, older or rediscovered films and videos by artists and filmmakers who work in the expanded field of moving image practice.

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Inspired by Laida Lertxundi’s sensuous and uncompromising cinema, this program brings together four films that celebrate the female gaze with irreverence and playfulness.

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In the presence of Laida Lertxundi.

Saute ma ville

Chantal Akerman
,
BE
,
1968
,
16mm
,
13'

Akerman was merely 18 years old, when she made her debut in 1968 with the anarchistic Saute ma ville, where she herself performs as a housewife in a revolutionary teenage parody of the cramped conditions of ‘petite bourgeoisie’.

Guerrillere Talks

Vivienne Dick
,
US, IE
,
1978
,
Super 8
,
24'

Irish filmmaker Vivienne Dick helped define New York’s No Wave film scene in the late 1970s and early 1980s. The No Wave movement embraced a brash guerrilla aesthetic and Dick’s films, shot on Super-8 and starring an unruly cast of artists and musicians, perfectly capture the lo-fi glamour of the scene. Guerrillere Talks is Dick’s first film, it consists of six cartridges of Super-8 footage strung together, each running for three and a half minutes.

Saddle Sores

Vanalyne Green
,
US
,
1999
,
video
,
20'

Video artist meets a handsome and enigmatic Marlboro Man; video artist gets a sexually transmitted disease. In a wry and pointed work that’s part Ibsen and part Danielle Steele, Vanalyne Green reworks the sex-education film to take a critical look at cherished stereotypes about romance, the American West, and cowboys.

025 Sunset Red

Laida Lertxundi
,
US, ES
,
2016
,
16mm
,
14'

025 Sunset Red is a kind of quasi-autobiographical reckoning. An indiscernibility of then and now. Recollection and immediacy. Delicacy and virility. The elusive and the haptic. The Basque Country and California. It’s a set of echoes of an upbringing by communist radicals, not as nostalgia but as a way of making sense, of finding practical applications of the past in the present. Within the film, blood is collected and poured, red filters cover landscapes, and images of desire are both produced and observed. The film is a diaphanous, psychedelic foray into the domestic and the political, looking at ways that politics may erupt, shape a life, form a sensibility, and become inscribed upon a body.” (Laida Lertxundi)

In the presence of Laida Lertxundi.