Erotika a abstrakce
Filmový klub. Český avantgardní film. Vstup zdarma.
Other: Experimental Films Then and Now
Curated by Jaroslav Andel
Q&A Jaroslav Andel and Michael Joaquin Grey
dir. Otakar Vavra, 1934, 20 min
dir. Isaac Julien, 1993, 10 min., color film, sound
The Play of Bubbles (Hra bublinek)
dir. Karel Dodal and Irena Dodalova, 1936, also released as Fantasie erotique (Erotic Fantasy), 1937, 2 min
Sam Slime Stress Cycle
dir. Michael Joaquin Grey, 2005, 2 min
Seeking Light (Myšlenka hledající světlo)
dir. Karel Dodal and Irena Dodalova, 1938, 10 min
dir. Michale Joaquin Grey, 2006, 10 min
Light Penetrates the Darkness (Světlo proniká tmou)
dir. Otakar Vavra, Frantisek Pilat, 1930, 8 min
Illusion of Motion
dir. Krystof Pesek, 2011, 3:40 min
Michael Joaquin Grey, an artist whose work has bridged the boundaries between art, science, media, and the imagination for the last twenty years. His interdisciplinary practice revolves around the development and origins of life and language, as well as morphology. The self organizing principles of living and nonliving things, from muscle cells up to cultural phenomena, are among the diverse concerns that Grey's work examines. Featuring wall vinyl, computational videos, sculptures, and prints, the exhibition investigates critical moments in natural phenomena and culture with a nearly scientific eye, all the while testing the very limits and boundaries of the tools required in such study.
“The Attendant” (1993) is actually set in a museum:
Wilberforce House in Hull, England, which is devoted to the history of slavery. It’s a
real place, though in Mr. Julien’s
hands it looks surreal.
The plot revolves around sexual fantasies aroused in a middle-aged black male museum guard — or attendant — by a young white male visitor. Much of the action takes place after closing time. As the guard paces the galleries, a huge 19th-century painting titled “Slaves on the West Coast of Africa”, by the French artist François-Auguste Biard, comes to life, its melodramatic scene of a white master bending over a dying black slave transformed into an up-to-date, leather clad sadomasochistic grouping.
Next, there’s an erotic scene between a guard and a young man in a gallery hung with soft-core drawings by Tom of Finland, one of many references to the contemporary art in the film. Their cries are overheard by a third character, a black woman called the conservator, who approvingly listens through the wall as she cleans the museum’s picture frames.
The film is only 10 minutes long, but it packs in a rich variety of images and moods. They include some funky camp humour (gold-lamé bar-boy; mosquito-size Cupids), a complex sexual and racial dynamic of dominance and submission and a poignant sense of loss, which serves as a reminder that the piece was made at the height of the AIDS epidemic.
Holland Cotter, The New York Times
Ph.D. Jaroslav Anděl received his Ph.D. in Art History from Charles University and his M.F.A. in Photography from the Film and Television Faculty of the Academy of the Performing Arts in Prague. As a visual artist in the1970s he had several one-person exhibitions and participated in group exhibitions of photo-based and conceptual art in Europe, Asia and the United States. In 1982 he moved from Prague to New York City, and has since has produced numerous exhibitions and publications on modern and contemporary art both in the Czech Republic and abroad. He is the co-author of Czech Modernism 1900-1945 (Museum of Fine Arts Houston, Houston, Texas, U.S.A. 1990) and co-editor of Cinema All the Time: An Anthology of Czech Film Theory and Criticism, 1908-1939 (Czech National Film Archive: 2008). He is the artistic director of the DOX Center for Contemporary Art in Prague. www.dox.cz
Czech and Other: Experimental Films Then and Now
March 13, 7pm Spark of Being & 657 Second
Organized in collaboration with the National Film Archive in Prague and FAMU Center for Audiovisual Studies
321 East 73rd Street
NY 10021 New York
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