20:30h / ACUD Kino


Two works that explore the event of projection in its physicality, framing cinema in a synchronic relationship with other lineages pertaining to the arts of the screen, from phantasmagoria to slide projection. The history of the combined efforts by natural magic and optical science in defining the phenomenon of light is directly performed on the screen, while the act of recording involves the context in the workings of the apparatus, incorporating the site of the screening as an active agent: a mise en abyme that leaves the mechanical performer in the solitary enjoyment of its own re-production. (T. I.)

Work with Stone
Andrew Gannon, Alex Hetherington, Oliver Mezger
4' 26'', 2017, Scotland, World première

Work with Stone, other title(s) is a collaborative film based on a set of four durational minimal action performances devised by Andrew Gannon which were documented on 80 35mm slide film by Alex Hetherington. A projection of these slides was shot in an empty theatre space at the CCA, Glasgow in September 2017 and captured on a single roll of 16mm film by Oliver Mezger. The images from the original performances become fractured and separated, returning to invisibility, while the equipment used during their display mimics performer and documenter. The project looks at the limits of the artwork, where it continues to perform and where its edges begin to blur into other spaces. In its construction, process and discussion the piece references Anna Lucas’ film Gustav, Graham and Lee from 2012.

FUGUE, A Light's Travelogue
Els van Riel
27', 2017, Belgium, German première

The film is the result of trying to understand the complexity of light.Through this work I started figuring out what light and the importance of its energy is all about. Physicist responded with an unsatisfying ‘that’s a philosophical question’, philosophers returned with the same ‘that’s a question for physicists’. I wandered through the history of its science and constructed a film that piles up details of it, in order to simply sing for its existence in an essay. I believed that if I projected and re-filmed images associated with the history of the science of light, and then re-projected and re-filmed these films again, and repeated this process over and over again by adding a potentially infinite number of new layers, I would eventually arrive at a sensible insight. Though surely not only for my own delight, FUGUE aspires to be an invitation to reach towards the essence of light.