Bento 17 at Die SpukKommune

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Dear friends, on the top the short version's video of the event Stereobild#5: Anémic Cinéma by Bento 17. To see the full-lenght version click here.

Anémic Cinéma by Bento 17

Stereobild#5
Projection of the vanguardist shortfilms Anémic Cinéma, Le Ballet Mécanique, Entr'acte and Ghosts before Breakfast, with live music by Bento 17 (Soundscape / Keyboard /Sampler / Theremin).

Program shortfilms
Anémic Cinéma
Anémic Cinéma (1926) is an experimental film made by Marcel Duchamp. The film depicts whirling animated drawings -- which Duchamp called Rotoreliefs -- alternated with puns in French. Duchamp signed the film with his alter ego name of Rrose Sélavy. Rotoreliefs were a phase of Duchamp's spinning works. To make the optical "play toys" he painted designs on flat cardboard circles and spun them on a phonograph turntable that when spinning the flat disks appeared 3-dimensional. He had a printer run off 500 sets of six of the designs and set up a booth at a 1935 Paris inventors' show to sell them. The venture was a financial disaster, but some optical scientists thought they might be of use in restoring 3-dimensional sight to people with one eye. [1] (Animated display of the Rotoreliefs). In collaboration with Man Ray and Marc Allégret, Duchamp filmed early versions of the Rotoreliefs and they named the first film version Anémic Cinéma.

Le Ballet Mécanique
Le Ballet Mécanique (1924) was a project by the American composer George Antheil and the filmmaker/artist Fernand Léger. Le Ballet Mécanique was originally written to accompany a Dadaist film of the same name, directed by Dudley Murphy and Fernand Léger, with cinematography by Man Ray. Antheil himself was not a Dadaist, though he had many friends and supporters in that community. Unfortunately, the score ended up being between 20 and 30 minutes long while the film was only 16 minutes long.
In concert performance, the "ballet" is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bells stand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century. To explore a fascinating artifact of modernist music like Le Ballet Mécanique, it is worth understanding its history and also its musical qualities.

Entr'acte
Entr'acte (1924) is a short film directed by René Clair, which premiered as an entr'acte for the Ballets Suédois production Relâche at the Théâtre des Champs-Élysées in Paris. Relâche is based on a book and with settings by Francis Picabia, produced by Rolf de Maré, and with choreography by Jean Börlin. The music for both the ballet and the film was composed by Erik Satie. For this production, the Dadaists collaborating on the project invented a new mode of production: instantanéisme. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The cast included cameo appearances by Francis Picabia, Erik Satie, Man Ray, and Marcel Duchamp.

Ghosts Before Breakfast
Hans Richter created the film Ghosts before Breakfast, also known as Vormittagspuk, in 1927. This was a silent experimental avant-garde film and it was the fifth film that he had made. The film itself is considered to be one of the first surrealistic films ever made. Richter's interest in Dadaism is shown directly in this work as he challenges current art standards of the time by presenting a theme of obscurity and fantasy. Clocks, legs, ladders, hats, and people undergo total irrational happenings in unusual settings. Men have beards magically appear and disappear before the viewer's eyes, hats fly around in the air, a man's head comes off and floats in the air, tea cups fill up by themselves, objects and characters move in reverse, men disappear behind a street sign, etc... . All brought together by associative logic, the flying hats perform this function by continually reappearing to the sequence of shots to tie the film together as a whole. This film digs into the viewer's mind for inner experience in thought and idea. It gives the audience a chance to release nervous tension when witnessing these abstractions shown through images. Richter tries to increase the viewer's knowledge of reality by showing them surrealistic fantasy. He accomplishes this through his use of rhythm, and his use of the camera.

Bento 17
João Bento was born in 1980 in Fundão-Portugal. Since 2004 compose and perform sound for performances, experimental movies and video live acts (www.canalzero.net/video).Perform is one work and often collaborate with other artists. The relation between music, visual arts , cinema, performance and dance have been a layer in the music field cultivate over the last years.The work articulates analogical instruments and sound objects(created by himself), with new technological devices using installation, video and photography. .The work developed over the last years demonstrates an evident interest in crossing artistic processes and realities as new media and sound art also to look up on issues intrinsic to the image itself. Graduated in Visual Arts at ESAD, Caldas da Rainha /Portugal.Trained improvised music with the musician Greeg Moore and Theremin with Pamela Kurstin. Participates in various meetings, and festivals with creations in vídeo installation, live acts, performances and screenings. Between 2004 and 2006 coordinated the Project VS (international experimental video platform ). Co-creator and performer of Canal Zero project, presented among other places in: TMG Guarda; Centa ; Imago Youth Film International Festival; Casablanca Cinema, Barcelona; Sttutgard Winter Film; Passos Manuel Cinema, Oporto, Maria Matos Theater, Lisbon; Super Stereo Demonstration; Culturgest, Lisbon; Serralves Museum ; Espaço do Tempo, Montemor-o-Novo. Co-creator and performer in “Sem título até Hoje” with Ana Trincão, premiered on Festival Fábrica in Oporto . Compose also sound and performe live in "Le Coq is Dead" with Luiz Antunes, Francisco Pedro and Allan Falieri. Participates often in international screenings of experimental video: WKV-Kunstverein Stuttgart Museum, Videoteca Municipal of Lisbon, Documental Festival of Sarajevo and Festival di nuove-Immagini dei new media – Torim – Italy.

Date
Friday 3.09 at 21:00

Links
http://www.joao-bento.com
http://www.myspace.com/bento17

Free entrance

Stereobild: Keaton, Beckett and García

Program
Projection of the shorfilms One week, Cops and Film by Buster Keaton and Samuel Beckett, with live music by José García.

Shortfilms
One Week is a 1920 short comedy film starring comedian Buster Keaton, the first film to be released made by Keaton on his own; Keaton had worked with Roscoe "Fatty" Arbuckle for a number of years. The film was written and directed by Keaton and Edward F. Cline, and runs for 19 minutes.

Cops. This very Kafka-esque film is Keaton's response to the Fatty Arbuckle scandal. Even though the central character's intentions are good, he cannot win, no matter how inventively he tries. He gets into various scraps with police officers throughout the film. Eventually, he unwittingly throws a bomb into a police parade and ends up being chased by a horde of cops. The surrealistic vision of Keaton, small and alone, evading these hundreds upon hundreds of policemen is unforgettable. The filmmaker was both athlete and comic, and here he makes maximum use of both talents, racing down streets, playing a balancing act on a ladder, and casually grabbing hold of a car as it flies past, all in an attempt to evade the cops. When it was first released, this comic short confused many people -- its subtle statements (including its blend of humor and politics) went over the head of the average filmgoer of the '20s.

Film. Samuel Beckett’s only venture into the medium of cinema, Film was written in 1963 and filmed in New York in the summer of 1964, directed by Alan Schneider and featuring Buster Keaton. For the shooting Mr. Beckett made his only trip to America. The film, which has no dialogue, takes its basis Berkeley’s theory Esse est percepti, that is “to be is to be perceived”: even after all outside perception -- be it animal, human or divine -- has been suppressed, self perception remains. Film was edited by Sydney Meyers and the cinematography was by Boris Kaufman, both of whom were preeminent in their fields. Film was produced by Barney Rosset and Evergreen Theater.

Bio
José García was born in Malaga (1978) and today he lives in Berlin. His music, his sound, is based, although not only, in the plastic manipulation of the sonorous information that surrounds me. Million Bass lines, fragments of piano and of any instrument improvisations, accumulations of voices, subjects of the popular classic repertoire, of the historicist academy, ambient sounds and experimental sounds, everything can be deconstructed in samplers, units of loop, to compose a new mass, latent in the present. García musical language does not own the abstraction of the forms of a score, lives in the concrete of the recorded sound, in the basic electronics and in the digital edition by tracks. In a concert, the fragmentation rearticulates in accumulations, repetitions and silences, in a session of sonorous syncretism.

Date
Saturday 25.04 at 21:00

Links
http://www.archive.org/details/busterkeatonfilm
http://www.myspace.com/josegarciasonido

Free entrance

Stereobild: Rutmann und Pisu

Am Sonntag den 25. April, um 21Uhr wird Pisu seine elektronische Musikinterpretation des Filmes "Berlin - Sinfonie der Grossstadt" (1927) von Walter Ruttmann als die Tonbegleitung spielen.

David Still Trio spielt zu Dudok de Wit, McLaren und Drouin

Einführung
Vorführung von einigen experimentellen Animationkurzfilmen der Regisseure Michäel Dudok de Wit, Norman McLaren und Jacques Drouin. Video-Auswahl und Life-Musikbegleitung von David Still Trio.

Programm
Father and Daughter, 2000. Niederlande, Belgien und Großbritannien. Regie, Drehbuch und Animationen gestaltete von Michäel Dudok de Wit. Animation. 8 Min.
Ein Vater und seine Tochter fahren mit dem Rad über eine niederländische Landschaft. Sie halten an einer Stelle an. Der Vater geht zum Meer und steigt in ein Boot, sich von seiner Tochter verabschiedend. Das Kind kommt daraufhin regelmäßig an die Stelle zurück, um auf seinen Vater zu warten. Es vergehen Tage, Monate und Jahre, ohne dass der Vater zurückkommt. Die Tochter heiratet, bekommt Kinder und wird alt.

Pas de Deux, 1968. Kanada und Großbritannien. Regie: Norman McLaren. 35 Mn, 16 Min.
Der Film präsentiert zwei Tänzer, die einen „pas de deux“ machen. Der Film wurde stark überbelichtet gedreht und kontrastreich aufgenommen. Diese Technik hat einen stroboskopischen Effekt auf den Film.

Le PaysaGiste, 1976. Kanada. Regie: Jacques Drouin. 16 Mm. 8 Min.
Dieser Film präsentiert einen Künstler, welcher eines seiner Gemälde betritt. Er durchwandert dort Landschaften, welche mit Symbolen besiedelt sind , die überraschende Assoziationen hervorrufen.

Datum
Sonntag der 28.03 ab 20:00 Uhr

Adresse
Rauchhaus e.V., Mariannenplatz 1-a, Kreuzberg, Berlin
U-Bahn 1 oder U-Bahn 8 (Kottbusser Tor)
Bus 140 (Mariannenplatz)

Links
www.en.wikipedia.org/wiki/Micha%C3%ABl_Dudok_de_Wit
www.en.wikipedia.org/wiki/Norman_McLaren
www.en.wikipedia.org/wiki/Jacques_Drouin

Eintritt Frei

Kinomusik in der SpukKommune

Kinomusik in der SpukKommune
Samstag 27.02 ab 21:30 Uhr

Vorstellung des Kurzfilms Arturo es doméstico von Rubén Marín und Vorführung von einigen experimentellen Kurzfilme des spanischen Kultregisseurs José Val del Omar und Iván Zulueta.
Video-Auswahl und Life-Musikbegleitung von Manolator.

Programm
Iván Zulueta
Leo es pardo, 1976, Super8, 9'50'', o-Ton
Amalgama, 1976, Super8, 33'12", o-Ton
Acuarama, 1975, Super8, 14'41" (Musik von Manolator)
Get Back, 1969, Animation. Videoclip für die TVE 2'22", o-ton

José Val del Omar
Vibración de Granada, 1935, 13'14" (Musik von Manolator)
Tríptico elemental de España:
-Aguaespejo granadino, 1953-55, 21'12", o-Ton
-Acarinyo galaico (de barro), 1962-81-95, 24'48", o-Ton (+ Musik von Manolator)
-Fuego en Castilla, 1958-60 17'51", o-Ton

Rubén Marín
Arturo es doméstico, 2008, VHS, 6'30''

Adresse
Rauchhaus e.V., Mariannenplatz 1-a, Kreuzberg, Berlin
U-Bahn 1 oder U-Bahn 8 (Kottbusser Tor)
Bus 140 (Mariannenplatz)

Links
www.ivanzulueta.com
www.valdelomar.com
www.myspace.com/putiklub