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Cinema 25: The Cinema of Colin Clark & Kelly Egan.
Sun 30 April 2017, 18:30 – 21:30 BST
Cinema 25: The Cinema of Colin Clark & Kelly Egan.
Join for a two-day collaborative programme in which the contemporary work of audio-visual artists Colin Clark and Kelly Egan will be celebrated.
Please note that Cinema 25 screens out of the second floor of a residental address. Please contact the organiser should you have any questions regarding Cinema 25's venue.
Programme begins at 6:30pm on both days.
25 Hornbeam Road, Levenshulme, M19 3EN.
+44 7544 344 753
~ Programme notes ~
On Saturday the 29th of April, a retrospective programme in which all of Kelly Egan's works will be screened.
On Sunday the 30th of April, a programme consisting of Tofino, In Passing, and Freezing by Colin Clark will be screened.
A dialogue between the disparate works of these two intertwined filmmakers will hope to be established through this joint programme.
Colin is a digital based artist working at a formal distance to the analog profilmic. His beautifully peaceful films are often composed of elongated takes, static in their framing, in which the profilmic is digitally manipulated and the image is digitally doctored. Kelly, conversely, is an artist who works in a radical proximity to the profilmic image. Kelly foremostly works with photograms and archival footage. A majority of her films are handmade, and in many no camera is present. Both filmmakers might be seen to possess a distinctly horizontal archaeological methodology in their approach to the cinematic image, and in their engagement with the cinematic apparatus. This unity, however, straddles two radically disparate approaches to filmmaking. This programme will attempt to erect the scaffold from which these unique formal approaches, different in their methodology, might be understood as unified in their thematic thrust.
~ Colin Clark ~
2015, 9 minutes, HD video, sound.
On the cusp of winter, at the shore of Lake Huron, everything is starting to freeze: the beach, my camera (in various ways), and me.
2015, 18 minutes, HD video, sound
This dried-up old leaf fades and finds new life through digital transformation.
2016, 27 minutes, HD video, silent
A panorama in time at Wickaninnish Beach near Tofino and on Meares Island, British Columbia. Here, time folds in on itself; digital waves break against natural surf, amplifying and attenuating each other. Time, wind, and signal flow together.
~ Kelly Egan ~
2011, 5 min, 35mm (screened on digital), colour, optical sound
“We have your …” The ransom note, in our collective imagination, is an interesting entry point to the politics of ownership, freedom and exchange value, made by transforming mass media (newspapers) content into a personal message – the re-appropriation of language and meaning through the act of collage. Ransom Notes explores this strange tension as a means of sorting out the filmmaker’s experience of the hijacking of her city during the Toronto G20 Summit and subsequent riots of June 2010. The film combines new and old media (film, newsprint, print-outs of twitter feeds), exploring social mobilization through mass media, culminating through the structure of a “waltz.” The soundtrack of the film is composed by placing letters, words and sentences directly on the optical soundtrack – in a sense the projector is “reading” the words, and the sound that you hear is the language produced by the cinematic machine.
c: won eyed jail
2005, 5 min, 35mm (screened on digital), colour, sound.
“c: won eyed jail“ is a 35mm film project consisting of two parts: a quilt patterned out of 35mm still negatives and 35mm found motion picture, and a traditional film print of the quilt that is screened through a 35mm motion picture projector. I consider this quilt/film homage to Joyce Wieland, whose artwork called into question the binary oppositions concerning issues of art and craft, personal and public space, content and form, narrative and experimental, as well as commenting on the sociopolitical environment in which we live.
The dual existence of “c: won eyed jail” as projected film and as a sculptural object is meant to call into question the original place of analysis of film: is it in the content projected on the screen or in the filmstrip/film negative---the “score” of the filmmaker? The quilt itself allows audience members access to the negative of the film, an art object normally sequestered from its viewing public. The two components of “c: won eyed jail” are meant to explore the very notion of film’s existence in time and space.
This film explores experimental narrative and structural forms through the use of traditional “women’s work.” Narratives are told through the symbolic patterning in quiltmaking practices. I wanted to collect and re-present images in order to create a formal narrative guided by structural concerns. I decided to use only found film for this project, incorporating both 35mm still negatives and 35mm motion picture. Although 35mm still photography film and 35mm motion picture film are made from the same stock, there are huge differences in the size of the frame and the intended directionality of the filmstrip. Playing a print consisting of still picture negatives through a motion picture projector has a dramatic effect on the perception of the image. The result is almost like a collage unfolding and accumulating in real time before your very eyes. The fragmentation of the image re-presents the visual information in a more kinetic form: traces of the image. At the same time, “c: won eyed jail” exists as a very tangible object—a whole united through fragmented parts, which placed together create a coherent tale.
2005, 3 min, 16mm (screened on digital), colour, sound.
transparent “c” is a formal investigation into the structure of language and meaning. Not only does transparent “c” break down the language structure to the basic common denominators, but it also flushes out the direct correlation between sound and image in my work. transparent “c” demonstrates the range of the sonic palette in animated sound through the mechanical performance of the projector optically reading the alphabet.
2002, 4 min, 16mm (screened on digital), colour, sound.
Egan’s first film and her first experiment in translating written text/language into an aural object. “finger petals” is a handmade cameraless film which uses collage techniques to sculpt the images and sound. The visual composition was made by meticulously cutting, shaping and collaging flowers onto the filmstrip. The sound treatment is created by pasting e.e. cummings’ poem “somewhere i have never travelled, gladly beyond,” the letters themselves forming the audio as their graphic shape is translated into sound.