Here’s the next item of this year’s programme: Combining industrial, jazz, psychedelia and minimalism, Tomaga (UK) from the Hands in the Dark will add two new scores to LUCIFER RISING by Kenneth Anger and EARLY ABSTRACTIONS by Harry Smith. Plus, you’ll get the chance to see another early subversive work of film: Maya Deren’s and Alexander Hammid’s classic MESHES OF THE AFTERNOON—on glorious 16mm!
USA/UK 1970-80 D: Kenneth Anger, A: Kenneth Anger, Marianne Faithful, Bobby Beausoleil, 28’, 16mm / USA 1939-56 D: Harry Smith, 23’, 16mm
Being subversive high priests of New Age Cinema and ardent worshippers of occultist and self-appointed Antichrist Aleister Crowley, Kenneth Anger and Harry Smith take into account esotericism, archaic symbols and hardly decodable mythologies each with their own aesthetics. Topically, Anger refers to the charismatic figure of Lucifer, the most incandescent angel in heaven, who is banned after engineering a revolt against God and henceforth develops into a rebel against established orders. In images of creation and destruction, of deities and forces of nature, Anger interweaves Christian myth and historical, pop-cultural and personal threads. In Smith’s partly hand-painted animations, colours and forms are mushrooming seemingly erratic: grainy, coarse textures and micro-organisms on the one hand, design elements seeming modernist and bits of short narratives on the other. With bass, synthesizers (Tom Relleen) and percussion (Valentina Magaletti), Tomaga will add live scores to these classics of experimental cinema. The London duo canalises multi-instrumentalisms in lose patterns traversing industrial music, psychedelia, jazz and minimalsim. Committed to musical exploration, they dismantle known tropes in favour of new configuration, create tension between improvistaion and form, The result is sometimes modest noise music, seomtimes manically danceable.
supporting film: MESHES OF THE AFTERNOON
USA 1943 D: Maya Deren & Alexander Hammid, A: Maya Deren & Alexander Hammid, 14’, 16mm
Proceeding from actual things, MESHES OF THE AFTERNOON moves towards an implausible universe step by step. First, the hand of the protagonist places a flower, then the film disappears together with her to a distorted dream world, in which lookalikes meet, hooded figures glance out od mirrors and order falls apart. Time moves forward and backwards, leaves blanks, accelerates. In the end, a knife flashes, a mirror brakes and waves wash away the shards into the Atlantic.
Tickets: 10,00€ + fee • available at Culton Ticket (Peterssteinweg 9) and online via TixforGigs.
GEGENkino #5 is proudly announcing our cooperation with music plattform RASTER and visual artist Pedro Maia! Robert Lippok is exclusively adding a live score to the 16mm film WASTELAND, Grischa Lichtenberger and Mieko Suzuki will follow up with their audio peformances and all night long you can watch Raster video works on screens installed in the venue.
[Thanks a ton to PAUL NILLING for the poster (design, typeface, visual noise and all) for the event by the way!]
ROBERT LIPPOK adds live score to WASTELAND (2015, Pedro Maia, 30’, no dialogue, 3x16mm)
Subsequently: ROBERT LIPPOK (live set), GRISCHA LICHTENBERGER (live a/v set), MIEKO SUZUKI (dj set)
Plus: INSTALLATION of Raster video works
Pedro Maia: http://www.pedromaia.net/
Robert Lippok: https://soundcloud.com/robert-lippok
Grischa Lichtenberger: https://soundcloud.com/grischenka
Mieko Suzuki: https://soundcloud.com/mieko
For more than 20 years, Raster (formerly known as: Raster Noton) has established a label that not only stands for a specifically distinct techno and experimental sound, but also for a collective platform that frequently serves as basis for collaborations with artists from various disciplines. The evening will be opened by an encounter of digital and analogue: as a premiere and exclusively for GEGENkino, Robert Lippok adds a live score to WASTELAND, a 16mm-film performance of Portuguese artist Pedro Maia.
The title literally refers to the origin of the filmstrips shown: they are seemingly useless waste, faulty exposures, they are discarded material from an analogue film lab. The colours of WASTELAND are less reminiscent of barren or bleak landscapes but rather remind of Stan Brakhage’s chemical experiments. That means that after being exposed to toxic processes, the images turn into pure colour fields. Maia’s three projectors animate them, let fissures and stains flicker, let veinlets, scratches and debris whirl. After an additional live set by Robert Lippok, Grischa Lichtenberger will present his audiovisual live performance. Raster resident Mieko Suzuki will then end the showcase. Besides, various Raster video works are installed and displayed all night long. They are representative for the close involvement with computers and their audiovisual capabilities – a constant topic that steadily forms the objectives of the label.
Doors: 9 pm
Screening WASTELAND: 9.30 pm
Tickets: 12,00€ + fee • available at Culton Ticket (Peterssteinweg 9) and online via TixforGigs.
Out of the void! GEGENkino’s returning this year with its 5th edition!
This year (April 05 – 15, 2018), our central focus are the topics of protest and resistance. How can film behave and positiion itself considering the reality happening all around it? What logics and formats succeed in reaching for the empathetic sensors of the audience—how does a movement on screen get into the brains of the people?
Find a few answers maybe or some more questions emanating from these questions at GEGENkino 2018.
The logo design was done – as you may’ve recognized already – by beloved Raging Eyeball Ricaletto, as always responsible for GEGENgraphics. Check this out: http://ricaletto.blogsport.de