{"id":4910,"date":"2013-03-17T23:33:14","date_gmt":"2013-03-18T05:33:14","guid":{"rendered":"http:\/\/blogs.saic.edu\/cate\/?p=4910"},"modified":"2025-01-09T23:17:07","modified_gmt":"2025-01-10T05:17:07","slug":"march-21-wavelengths-in-the-blink-of-an-eye-2","status":"publish","type":"post","link":"https:\/\/sites.saic.edu\/cate\/2013\/03\/17\/march-21-wavelengths-in-the-blink-of-an-eye-2\/","title":{"rendered":"March 21 – Wavelengths: in the blink of an eye"},"content":{"rendered":"

\t\t\t\tThursday, March 21, 6 p.m. |<\/strong>\u00a0Curator Andr\u00e9a Picard in person!<\/em><\/p>\n

\"Still<\/a>
Still from View From the Acropolis (Lonnie van Brummelen & Siebren de Haan, 2012). Courtesy of the artists and Motive Gallery.<\/figcaption><\/figure>\n

Named for but also infinitely inspired by Michael Snow\u2019s 1967 masterpiece,\u00a0Wavelength<\/em><\/a>, the Toronto International Film Festival\u2019s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated by Andr\u00e9a Picard, who has curated Wavelengths since 2006, this program is a Wavelengths compendium featuring a number of works from the 2012 line-up (including Nathaniel Dorsky\u2019s\u00a0August and After<\/em>, Ernie Gehr\u2019s\u00a0Auto-Collider XV<\/em>\u00a0and Lonnie van Brummelen and Siebren de Haan\u2019s\u00a0View from the Acropolis<\/em>\u00a0which were all cited in the\u00a0New York Times\u2019<\/em>\u00a0best films of the year wrap-up and screen as Chicago premieres) and highlights from previous editions, including a 35mm restored print from La Cin\u00e9math\u00e8que fran\u00e7aise of Henri Storck\u2019s too-rarely seen 1929 Surrealist gem,\u00a0Pour vos beaux yeux.<\/em>\u00a0Blinking is not encouraged!<\/p>\n

ANDR\u00c9A PICARD<\/strong>\u00a0(b. 1977, Toronto, Canada) is a film curator and writer based in Toronto and Paris. For twelve years she was a member of the programming department at TIFF Cinematheque (n\u00e9e Cinematheque Ontario) and has been curating Wavelengths, the Toronto International Film Festival\u2019s celebrated avant-garde series, since 2006. She also writes the \u201cFilm\/Art\u201d column for Cinema Scope magazine.<\/p>\n

::PROGRAM::<\/strong><\/p>\n

349 (for Sol Lewitt),<\/strong><\/em>\u00a0Chris Kennedy\u00a0<\/a>
\n(2011, Canada, Video, Color, Silent, 1 min.)
\n349 (for Sol Lewitt)<\/em> is a digitally animated version of Sol LeWitt\u2019s Wall Drawing #349<\/em>. A recreation\u00a0of LeWitt\u2019s geometric vocabulary and primary colour palette, 349 careens through emblazoned\u00a0emblems, lifted from walls and transported into dialogue with the legendary artist\u2019s lifelong\u00a0exploration of spatial systems and human emotion. (Andr\u00e9a Picard)<\/p>\n

Pour vos beaux yeux,<\/strong><\/em> Henri Storck
\n(1929, Belgium, 35mm archival print, B&W, Silent, 8 mins.)
\nLong thought lost, Henri Storck\u2019s scarcely seen 1929 Surrealist gem, Pour vos beaux yeux<\/em> (made\u00a0in collaboration with painter F\u00e9lix Labisse) uses playful optical tricks in its tale of a young dandy\u00a0who tries to send a glass eye through the post, to no avail. Shown here in a 35mm restored print\u00a0courtesy of La Cin\u00e9math\u00e8que Fran\u00e7aise.(Andr\u00e9a Picard)<\/p>\n

Class Picture,<\/strong><\/em> Tito and Tito
\n(2011, Phillippines, 35mm, Color, Sound, 5 mins.)
\nFilipino artist collective and \u201cphotography film\u201d aficionados Tito & Tito convert a single 16mm\u00a0colour strip into washed-out 35mm; the sea, like history, swallows but also spawns.(Andr\u00e9a Picard)<\/p>\n

Garden\/ing<\/strong><\/em>, \u00a0Eriko Sonoda<\/a>
\n(2007, Japan, Video, B&W, Sound, 6 mins.)
\nShot frame-by-frame and eschewing all digital effects, Garden\/ing<\/em> is a trompe l\u2019oeil hall of mirrors\u00a0that meticulously stymies a view from a window with enlarged photographs of its very vista.\u00a0(Andr\u00e9a Picard)<\/p>\n

Slave Ship<\/strong><\/em>, T. Marie<\/a>
\n(2010, USA, Video, Color, Silent, 7 mins.)
\nThe apocalyptic sublime of J. M.W. Turner\u2019s 1840 masterpiece The Slave Ship,<\/em> with its fiery\u00a0conflagration and strewn debris amid wild waters, is the source for T. Marie\u2019s time-based pixel\u00a0painting-film: a languorous, searing abstraction with a hot, translucent palette updates the classic\u00a0scene in reference to today\u2019s skewed social hierarchy and the sale of human life.\u00a0(Andr\u00e9a Picard)<\/p>\n

Capitalism: Slavery<\/em>,\u00a0<\/strong>Ken Jacobs
\n(2007, USA, Video, Sepia, Silent, 3 mins.)
\nTransforming nineteenth century stereographic images of cotton-picking slaves into haunting,\u00a0flickering worlds of depth and movement, Ken Jacobs re-awakens a frozen and shameful moment in\u00a0history.\u00a0(Andr\u00e9a Picard)<\/p>\n

View from the Acropolis,\u00a0<\/strong><\/em>Lonnie van Brummelen and Siebren de Haan<\/a>
\n(2012, The Netherlands, 35mm, B&W, Sound, 15 mins.)
\nLonnie van Brummelen and Siebran de Haan’s glorious 35mm View from the Acropolis<\/em> extends the\u00a0Dutch artists’ interest in Europe’s shifting power dynamics by offering a monumental meditation\u00a0on the original Turkish site of the Pergamon altar, now stowed in the famous Berlin museum which\u00a0holds its name.\u00a0(Andr\u00e9a Picard)<\/p>\n

Auto-Collider XV,\u00a0<\/em><\/strong>Ernie Gehr
\n(2011, USA, Video, Color, Sound, 9 mins.)
\nErnie Gehr’s Auto-Collider XV<\/em>, from his ongoing series devoted to vehicular form and movement, is a\u00a0no-holds-barred trip into painterly abstraction, where an Agnes Martin painting meets a rapid-fire\u00a0back-and-forth Gerhard Richter squeegee and the world is swiftly rent asunder.\u00a0(Andr\u00e9a Picard)<\/p>\n

August and After<\/em>, <\/strong>Nathaniel Dorsky
\n(2012, 16mm, Color, Silent, 18fps, 19 mins.)
\nNathaniel Dorsky’s August and After<\/em> is dedicated to two recently departed friends, legendary\u00a0filmmaker George Kuchar and actress Carla Liss. The film shows them vibrantly, resiliently\u00a0alive shortly before their passing and then sets off in search of soothing beauty, yielding searing\u00a016mm images awash in colours both belonging to and transcending our natural world. Well into\u00a0the twilight years of 16mm filmmaking, Dorsky continues to present textures and hues that are\u00a0indispensible to the art of cinema. We will be poorer without them.\u00a0(Andr\u00e9a Picard)<\/p>\n

 \t\t<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, March 21, 6 p.m. |\u00a0Curator Andr\u00e9a Picard in person! Named for but also infinitely inspired by Michael Snow\u2019s 1967 masterpiece,\u00a0Wavelength, the Toronto International Film Festival\u2019s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated […]<\/p>\n

Read More… from March 21 – Wavelengths: in the blink of an eye<\/span><\/a><\/p>\n","protected":false},"author":203,"featured_media":4710,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18],"tags":[108,119,199,201,206,211,265,298,334,377,437,539,575,601,615],"class_list":["post-4910","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-18","tag-canada","tag-chris-kennedy","tag-eriko-sonada","tag-ernie-gehr","tag-europe","tag-experimental","tag-henri-storck","tag-japan","tag-ken-jacobs","tag-lonnie-van-brummelen","tag-nathaniel-dorsky","tag-siebren-de-haan","tag-t-marie","tag-tito-and-tito","tag-usa"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/4910","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/users\/203"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/comments?post=4910"}],"version-history":[{"count":1,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/4910\/revisions"}],"predecessor-version":[{"id":8604,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/4910\/revisions\/8604"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media\/4710"}],"wp:attachment":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media?parent=4910"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/categories?post=4910"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/tags?post=4910"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}