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THAW - live cinema by Greg Pope

20.04.2018 20:00 - 21:00 h

Filmverkstaden is happy to present current artist-in-residence Greg Pope with a newly developed live cinema performance.

THAW

Charting a day in the life of the death of winter.

Input: photographic material produced over the course of one day next to the unfreezing sea.

Output: A performance with light and shadow, film and slide projectors, contact microphones, guitar pick-ups, shutters, destruction/creation and sonic intervention.

Negative to positive to negative and back.

Greg Pope

After dabbling in punk rock bands and absurdist performance, Greg Pope founded film collective ‘Situation Cinema’ (Brighton 1986) and ‘Loophole Cinema’ (London, 1989).

Working collaboratively and individually, Pope has made video installations, live art and single screen film works since 1996. These works include live cinema performance pieces as well as 35mm film productions and slide projection performances. His collaborations include working with sound artists Lee Paterson, John Hegre, Lasse Marhaug and Okkyung Lee and bands including Sult and Ich Bin N!ntendo.

Pope has performed at festivals and events in Europe, North and South America and Australia.

Generously supported by
Nordic Culture Point
Arts Promotion Centre Finland

Free entrance!

Project and Survive

Start:10.03.2018 11:00 h
End:11.03.2018 17:00 h

Based on years of performance work using a range of different projection techniques, Greg Pope will take you through various live cinema strategies. We will look at live cinema from a punk aesthetic, using materials to hand combined with the idea of ‘projector as instrument’.

We will investigate proto-cinema image technologies using additional shutters with slide projectors and film projectors. Create sound through acoustic and amplified means using contact mics and old guitar pick-ups; the voice; the body; materials collected from the locality.

The workshop will be largely practical – working towards a series of live mini performance pieces created by the participants.

€ 75 including lunch and dinner
Book your spot via mail@filmverkstaden.fi

After dabbling in punk rock bands and absurdist performance, Greg Pope founded film collective ‘Situation Cinema’ (Brighton 1986) and ‘Loophole Cinema’ (London, 1989).

Working collaboratively and individually, Pope has made video installations, live art and single screen film works since 1996. These works include live cinema performance pieces as well as 35mm film productions and slide projection performances. His collaborations include working with sound artists Lee Paterson, John Hegre, Lasse Marhaug and Okkyung Lee and bands including Sult and Ich Bin N!ntendo.

Pope has performed at festivals and events in Europe, North and South America and Australia.

Generously supported by
Nordic Culture Point
Arts Promotion Centre Finland

Films by Li-Chun Tseng, Rebecca Erin Moran and friends

24.02.2018 20:30 - 21:30 h

Filmverkstaden is delighted to present an evening with films by current artists in residence, Lichun Tseng and Rebecca Erin Moran.
Included in the program are shorts by members of the Filmwerkplaats Rotterdam (NL).
All works are presented in their original format on 16mm film.
The filmmakers are present, so there will be an opportunity to talk about the films afterwards.

the 69 seconds
20 films made by members of Filmwerkplaats; each film is 69 seconds long. The duration of 69 seconds was the only limitation, as each film was created from diverse perspectives, experimentations and concepts. Programmed by Martin Putto.
Nico Spaarkogel————————Capture
Julia Kaiser———————————Wer morgens singt, den holen abends die Katzen.
Bart Koppe———————————Smits Bouwbedrijf
Coen Janssen—————————-Meander
Daan de Bakker———————— de Koperen Ploert
Marleen van der Werf—————Exposed
Florian Cramer ————————-69 sec. Mila
Benjamin Ramírez Pérez———-Embellishments
Judith v/d made———————— the motion of tumbling
Marcy Saude——————————-Cattedown Breakwater
Lichun Tseng——————————Xun
Juul van der Laan——————— What will you remember?
Guy Edmonds—————————- Attraction Forthcoming
Patricia Chaves————————- Ghostly Manners
Hélène Martin————————— My Flannel Pants
Gert Groenenberg———————March of guards will remain
Esther Urlus——————————-you are not alone
Nan Wang ———————————-a soft place to fall
Bernardo Zanotta———————-my materialist hair-cut
Joost van Veen————————- 1969

Lichun Tseng
Balga
16mm, 5min, mute, b&w, 2012
This film is inspired by a plant native to Australia, the grass tree. I was attracted by the slow growth of the trees,their spectacular figures and the ways in which their existence connects the land, the plant and the people. High contrast black and white film was used to capture and document the movement of the grass tree, as a way to reflect their visual poetry.
The scientific name of the grass tree is Xanthorrhoea preissii, people also call it Balga.

Flow
16mm,B&W,optical sound,17 min, 2013

‘Change is a process, is the starting point equal to the end point? What if everything is in a flow, what meaning of value of life can be derived from the intercomnectedness of all things? Reflecting the subtle relationships between the flow of changing, awareness of being and observation of breathing through abstract and rhythmic moving images. Integrating and developing a poetic state of contemplative and meditative process and flow in between void and solid; moving and still; expanding and gathering; strength and softness.

and

Rebecca Erin Moran will show her Still Life with Fries as an installation.

Still Life with Fries

16mm film, canvas
2015

Still Life with Fries is an analogue .GIF, a framed space, a container of time. Inspired by traditional dutch painting and the sectret life of inanimate objects. Still Life with Fries is a tableau vivante of vinrant matter painted with colored light.

REMEMBER!
Free entrance!
The Soap

Generously supported by
Nordic Culture Point
Arts Promotion Centre Finland

Visible/Invisible_BLUE

Start:24.02.2018 11:00 h
End:25.02.2018 17:00 h

This workshop will be focused on experience, observation, awareness, and practice in relation to image-making on 16mm film. The workshop will focus on cyanotype as a light sensitive emulsion; its uses and abstractions. Participants will be guided through various excercises, in order to reach a new understanding of their own process. This approach aims to spark new ideas, understandings, and become input for a personal and reflective way of filming and experimenting.

The workshop will consist of three parts, creative observation exercise, lab work, and exposure image-making. There will be a final screening presentation at the end of class on Sunday.

Workshop time schedule:
Day 1: Saturday 24 February
Introduction, discussion and exercise 1_visible/invisible
Material: A4 papers and pens

Lab: cyanotype practicum _ mixing and coating
Material: clear 16mm film, cyanotype, gelatin

Day 2: Sunday 25 February
Exercise 2_Blue, mindmapping

Lab: image-making, exposing, processing
Material: everything under the sun

€ 75 including lunch and dinner
Book your spot via mail@filmverkstaden.fi

Lichun Tseng (1979, TW/NL)
In my works, I am interested in searching for the experience of the vital dimensions of life, absorbing and partaking in it, grasping its wholeness; in which exploration and reflective contemplation are profound mental drives. I am one of the members of an artist run lab, Filmwerkplaats, Rotterdam, Netherlands.
Lichuntseng.com

Rebecca Erin Moran (1976, USA/IS)
Time and the act of questioning its percieved linearity is a central focus of my artistic practice in the last years. What is the duration of a volume of time compressed into a space; the repitition of a sequence of single frames of film, the materialization of time in an object. I have approached this investigation mainly through the medium of 16mm film, installation, performance, and sculpture.
rebeccaerinmoran.com

Generously supported by
Nordic Culture Point
Arts Promotion Centre Finland

Starting from Scratch: Contact Printing Workshop

Start:25.08.2017 11:00 h
End:27.08.2017 18:00 h

@ Polar Film Lab, Tromsø, Norway

Contact printing special effects workshop tought by filmmaker Esther Urlus:
Primarily, contact printing is a technique used to reproduce images from an already existing strip of film, most often implemented when producing a projection positive from a camera negative. This function of reproduction is inherent to film. Beyond this basic function, much artistic experimentation can be explored with this technique.

This workshop will show you (hands-on) some great contact printing techniques to create an unique aesthetics in your filmmaking. We will use a silkscreen printing lookalike technique on celluloid. Film as a canvas to create new and unique coloured originals. Starting point are on black and white hi-con filmed “mattes” as source material and we will transform these into multi layered technicolour. It incorporates the uses (and abuses) of film print materials, development processes and chemistry and converting a Steenbeck flatbed editing table into a DIY contact printer.

About Esther Urlus:
Esther Urlus makes Super8, 16mm and 35mm films and installations. Her work always arise from the DIY method. Kneading with the material, by trial, error and (re) inventing, she creates new work.
She is founder of the WORM.filmwerkplaats, its an artist run film lab in Rotterdam (NL).
Films: Idyll 2008, Deep Red 2012, Rode Moden / Red mill 2013, Konrad & Kurfürst 2014.
Two of her films will be shown in a program on friday!

– Workshop will be in english and its no particular level requiered
– Cost : 100€ including lunch and dinner

Sign up by sending an email to: polarfilmlab@gmail.com

This workshop is part of the nordic network 'Starting from Scratch’, with Kinosmidja (IS) Filmverkstaden (FI) and Polar Film Lab (NO).
More info: https://www.nordiskkulturfond.org/en/handmade/

Made possible with kind support from:
“Nordiska kulturfonden – Nordisk Kulturfond HANDMADE programme of Nordiska kulturfonden”
Nordisk kulturkontakt
Kulturrådet
and Tromsø kommune

Ekofoto

06.07.2017 18:00 - 21:00 h

Fotografier kan göras på många olika sätt. På hantverkarkvällen den 6.7 på Granösunds fiskeläge i Södra Vallgrund ska vi framkalla fotografier med miljövänliga och giftfria framkallningsvätskor gjorda av till exempel kaffepulver, såkallad Caffenol-framkallning.
Man kan då får prova på att kopiera negativ till fotografisk papper i ett mörkrum eller låna en kamera för att fotografera egna bilder som sedan framkallas.
Inga förkunskaper behövs. En liten materialavgift tillkommer för den som vill delta. Vi har ingen förhandsanmälan men kom i tid till kl. 18 om det låter intressant!
Kvällen leds av Daniel Beijar och Britt Al-Busultan från Filmverkstaden i Vasa.

New Maps of the New World

17.06.2017 20:30 - 21:30 h

Filmverkstaden is delighted to present an evening with films by Roger Beebe (US). Roger Beebe is a filmmaker whose work since 2006 consists primarily of multiple projector performances that explore the world of found images and the “found” landscapes of late capitalism.
The filmmaker himself will attend, so there will be an opportunity to talk about the films afterwards.

TB TX DANCE (2006, 16mm, 3:00)
A cameraless film made of patterns of dots directly laser printed on clear leader. That background also doubles as an optical soundtrack with different pitches created by the different sizes/frequencies of the dots. This film was commissioned by Mike Plante at Cinematexas in 2005. The rules for this commission: Reference dance. Reference Texas. Have an autograph in it. Mention Toni Basil.

The Strip Mall Trilogy (2001, super 8, 9:00)
The Strip Mall Trilogy is a series of three city symphonies that attempt to liberate form and color from the sprawling consumerist landscape of postmodern America. The film was shot on super 8 and, with the exception of a few sequences in part 2, was edited entirely in camera.

S A V E (2006, 16mm, 5:00)
A disused gas station offers a curious imperative: “Save.” A riddle posed in the form of architecture: what is there to save? One more installment in the history of Americans pointing their cameras at gas stations; an attempt to figure out something about where we’ve been, where we’re headed, and what’s been left behind. The first part of S A V E was also edited entirely in camera.

Tiger, Tiger (music video) (2016, 16mm on HD video, 4:45)
A music video for the band Holopaw that uses found footage from a boys camp outside of Austin, TX in the 1950s. The video wonders what other paths masculinity might take in the time of Trump.

Congratulations (One Step at a Time) (2014, HD video, 4:00)
Notes on gender in the 21st Century. A sad sequel to “You’ve Come a Long Way, Baby.” The video is single-take cinema that exists in both one-hour installation form and this truncated theatrical version.

tour/TOWER (2008, 16mm, 5:00)
I saw a kid playing in a sandbox, blissfully unaware that the Eiffel Tower loomed in the background. This film is an attempt to learn from that child and explore all the overlooked things that surround the tower.

Money Changes Everything (2009/rev. 2011, 3 × 16mm, 5:00)
Three days in Las Vegas, Nevada; three different visions of the discarded past and of the constantly renewed future. A three-part portrait of a town in transformation: a suburban utopia in the desert, a cancerous sprawl of unplanned development, a destination for suicides.

A Metaphor for the End of Just About Everything (2016, HD video, 3:00)
A document of the final hours of Long’s Book Store, a victim to both technological change and the pressures of real-estate development. The video is also a reflection on mortality, resonating with the billboard image of Félix González Torres’s “Untitled (for Parkett),” which was also destroyed with the building.

AAAAA Motion Picture (2010, 2 × 16mm, 12:00)
The Manhattan phone book has 14 pages of companies jockeying to be at the start of the alphabetical listings. Capitalism triumphs over linguistic richness yet again. Our challenge: to learn how to write poetry when there’s only one letter left. Made with a combination of original footage and a direct transfer of the pages of the phone book to 16mm clear leader.

Free entrance!

Sound and Image: Making films on a laserprinter

17.06.2017 11:00 - 18:00 h

Roger Beebe (US) leads a two-day workshop on how to use a regular office laser printer to make both images and sounds on film. The workshop will cover the basics of the technique for printing on clear leader before showing how to make do-it-yourself contact prints from your original films. We will discuss the basics of optical tracks and different approaches to making sound by printing in the soundtrack area. Participants are encouraged to bring their own laptops, since much of the time will be spent working with their own files. We will primarily be working with generating 10-second loops (with looping in projection also to be demonstrated as part of the workshop), and we will explore projecting multiple laser-printer loops simultaneously. By the end of the workshop every participant should have multiple completed laser-printer loops of their own.

Roger Beebe is a filmmaker whose work since 2006 consists primarily of multiple projector performances that explore the world of found images and the “found” landscapes of late capitalism. He has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art with solo shows at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum among many other venues. Beebe is also a film programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and Artistic Director of FLEX, the Florida Experimental Film Festival from 2004-2014. He is currently an Associate Professor in the Department of Art at the Ohio State University.
http://www.rogerbeebe.com/

On saturday evening there will be a screening of analogue films, laserprinted or not by Roger Beebe and others.

– Workshop is in english
– No particular level required
– Bring a laptop with photoshop if you can
– Costs : 50€ including lunch and dinner

Sign up by sending an email to: mail@filmverkstaden.fi

Starting from Scratch: Filmscreenings

03.06.2017 20:30 - 23:00 h

FiILMVERKSTADEN presents STRUCTURAL MATERIALITY (4 of 4)

Structural materiality focus on film as film and film as materiality. With different methods these films brings out how deconstruction of the orginal material becomes unexpected constellations and visual rebuilding for a 'new’ film structure. Certain filmmakers in the program 'dissecting’ the celluloid strip, – each single frame becoming a space of exploration; there are physical interactions, chemical interventions, processes of decomposition, where the tactility of the material is emphasized. The use of found footage or appropriation of the material of others that is then altered in different ways, recontextualized or transformed by manipulating the actual film strip – by scratching, chiseling, painting, or lifting off the emulsion an repositioning it on a clear film strip.

RHUS TYPHINA
ALEXANDRA MORALESOVÀ / GEORGE BAGDASAROV
2014 | 16MM | B&W | SOUND | 2’44
One of the series of labodoble experiment of the natural (organic) film developers. The structure of the film is based on the chemical formula of the RhusTyphina’s developer. The main protagonist of the film is a species of flowering plant in the family Anacardiaceae whose leaves and berries are mixed with tobacco and other herbs and smoked by Native American tribes. We tried to apply the properties of the Rhus Typhina in the photochemistry. The film captures the research, experiments, harvesting and preparation of the film developer in which latter original negative was developed. The nonlinear structure of the chemical formula as well as nonlinear research of the process are reflected in the order of the frames. No post-production except the sound. All editing work was made in camera before chemical development.

NOCTURNE
PHIL SOLOMON
1980 | 16MM | B&W | SILENT | 10’00
Nocturne strongly evokes one of Brakhage’s most exquisite films, Fire of Waters (1965). Its setting is a suburban neighborhood populated by kids at play and indistinct but ominous parental figures. A submerged narrative rehearses a type of young boy’s nighttime game in which a flashlight is wielded in a darkened room to produce effects of aerial combat and bombardment. A sense of hostility tinged with terror seeps into commonplace movements… Fantasy merges with nightmare, a war of dimly suppressed emotions rages beneath a veneer of household calm… In Nocturne, found footage is worked so subtly into the fabric of threat that its apperception comes as a shock ploughed from the unconscious. – Paul Arthur

THE LIVING ROCK
CAROLINE AVERY
1989 | 16MM | COLOR| SILENT | 9’55
A statement directed at the limbic mind about secondary forms of communication developed over time to compensate for the cultural denial of primary signals, creating a feed back loop as secondary responds to secondary, leaving the primary, the limbic behind. It is a cautionary tale.

EPHEMERAL SOLIDITY
STAN BRAKHAGE
1993 | 16MM | COLOR | SILENT | 5’00
This is one of the most elaborately edited of all the hand-painted films of late – a Haydenesque complexity of thematic variations on a totally visual (i.e., un-musical) theme.
This film is composed of 35mm hand-painted images reduced to 16mm film, single-frames, shots of two, three, four frames and, occasionally, slightly longer shots, all interspersed with a variety of calculated lengths of black leader which cause a flickering of abstract patterns in rhythmed darkness.

IMAGOGIE
FREDERIQUE DEVAUX
1981 | 16MM | COLOR | SOUND | 6’00
Imagogie (from words: image and demagogy) was made with 16mm and super8 inside 16mm. I wanted to explore the differents rythms of the film (small and bigger: 16mm). When the film was originally shown in the 80s in festivals, friends or other people in the audience would use walkie-talkies; they would speak to each other from one side of the room to the other, thus composing the sound of the film in vivo.
(Incorporations of Super-8 in 16mm. Chiseling work aimed at finding the initial plastic trace of the images that have been more or less erased by mechanical and / or chemical methods.)

CLEPSYDRA
PHIL SOLOMON
1992 | 16MM | B&W | SILENT | 14’00
Clepsydra is an ancient Greek water clock (literally, “to steal water”). This film envisions the strip of celluloid going vertically through a projector as a sprocketed waterfall (random events measured in discreet units of time), through which the silent dreams of a young girl can barely be heard under the din of an irresistable torrent, an irreversible torment.

“Solomon has evolved his technique so that in his latest work ('Clepsydra’ – 'waterclock’) the textures are constantly changing and are often appropriate to each figure in metaphoric interplay with each figure’s gestural (symbolic) movement. He has, thus, created consonance with thought as destroyer/creator – a Kali-like aesthetic 'There is a light at the end of the tunnel’ (Romantic); and it is a train coming straight at us: ... (and, to balance such, perhaps, with a touch of Zen) ... it is beautiful!” – Stan Brakhage

SUNDAY
CILE FONTAINE
1993 | 16MM | COLOR | SOUND | 9’00
Sunday mixes found and personal home movies with footage from a documentary film on the Seychelles Islands. It is about childhood memories of Sundays from morning to evening, and its rituals on the island of La Réunion where I grew up.

MADE MANIFEST
STAN BRAKHAGE
1880 | 16MM | COLOR | SILENT | 11’00
Every man’s work shall be made manifest, for the day shall declare it, because it shall be revealed by fire and the fire shall try every man’s work of what sort it is. -1 Corinthians 111-13

Total 67’44

All films from Lightcone, Paris

Curated by Daniel A. Swarthnas

Kindly supported by the HANDMADE programme of Nordisk Kulturfond

Starting from Scratch: Filmscreenings

03.06.2017 19:00 - 20:30 h

FILMVERKSTADEN presents FILM AS STRUCTURE (3 of 4)

Film as structure or structure as film is the main theme for this program that use different methods (optical printing, refilming, color separation, loops, superimposition) to manipulate and transform short film sequences or single frames in a structural and time-based manner.

COLOUR SEPARATION
CHRIS WELSBY
1974-1976 | 16MM | COLOR | SILENT | 2’30
This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour.
When projected the film resembles a moving impressionist painting in which time is seen to participate in the construction of the colour image.

DECK
GILL EATHERLEY
1971 | 16MM | COLOR | SOUND | 13’00
During a voyage by boat to Finland, the camera records three minutes of black and white 8mm film of a woman sitting on a bridge.
The precoccupation of the film is with the base and with the transformation of this material, which was first refilmed on a screen where it was projected by multiple projectors at different speeds and then secondly amplified with colour filters, using positive and negative elements and superimposition on the London Co-op’s optical printer.

SILENT PARTNER
PETER GIDAL
1977 | 16MM | COLOR | SOUND | 30’00
To put it (melo)dramatically, Silent Partner is a narrative. But it is a narrative without plot, identifiable characters or space/time co-ordinates.
“In effect, it turns the spectator loose in a problematic textual system which includes both narrative and non-narrative clues; the puzzle cannot be resolved because its terms are systematically ambiguous. The actual filmic material related closely to that used by Gidal in previous films: hand-held shooting in domestic interiors, with tight framing, frequent zooms and re-focusing, aspires to a kind of 'pre-predicative’ flux, in which full representation is held in abeyance. However, this material is now fragmented by the regular interruption of black leader, so that it appears as a series of discrete segments which are not, in any syntactic sense, shots – single takes clearly extend across more than one segment. Thus even the implication of spatial coherence present in Gidal’s Condition of Illusionand Room Film 1973 is here frustrated. But against this fragmentation, he introduces for the first time a 'diegetic’ soundtrack. In fact, the track is void for much of the film, but twice near the beginning it erupts into animated conversation which, nevertheless, remains just outside the limit of resolution.

EPISODIC GENERATION
PAUL SHARITS
1978 | 16MM | COLOR | SOUND | 30’00
The visual “degeneration” of the image … through successive rephotography is paralleled by the compression of verbal information to the point of its loss of legibility; yet, both the “degenerated” sound and image are perceptually engaging, even in the most advanced stages of “degeneration.” It is obvious why the film has its title, because of the strategies of its coming into being, but, paradoxically, at the level of effect, its dynamics arise from its “Episodic Degeneration.”

Thanks to Mark Webber

Total 75’30

All films from Lightcone, Paris

Curated by Daniel A. Swarthnas

Kindly supported by the HANDMADE programme of Nordisk Kulturfond

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