Limitless Cinema in Broken English

July 7, 2009


Filed under: Uncategorized — celinejulie @ 12:35 am



1.BLOOD APPEARS (2008, Pablo Fendrik, Argentina, 95 min)

2.BORDERLINES (2008, Lyne Charlegois, Canada)

3.FILMPHOBIA (2008, Kiko Goifman, Brazil, 80 min)

4.THE KOREAN WEDDING CHEST (2009,Ulrike Ottinger,82 min)

5.MY TEHRAN FOR SALE (2009, Granaz Mouusavi, Australia/Tehran, 96 min)

6.PERFECT LIFE (2008, Emily Tang, China)

7.PINK (2009, Rudolf Thome, Germany)

8.THE ROOM IN THE MIRROR (2009, Rudi Gaul, Germany, 106 min)

9.SOAP AND WATER(2009, Susan Gluth, Germany, documentary, 85 min)

10.THEY ALL LIE (2009, Matias Pineiro, Argentina, 75 min)

11.WAS DU NICHT SIEHST (2009, Wolfgang Fischer, Germany, 91 min)

12.YURI’S DAY (2008, Kirill Serebrennikov, Russia, 137 min)

(from Artforum magazine)

1.THE ABANDONED SHABONO (1976, Juan Downey, Chile, 27 min)

” In pursuit of the last primitive tribe of the Americas, Juan Downey’s ‘The Abandoned Shabono’ focuses on the Amazon Rain Forest. The shabono is the circular communal dwelling built by the Yanomami Indians. The artist presents the building as a metaphor for the social structure and spiritual environment of an ecologically sound culture that is threatened by advancing civilization. ”

2.ABOVE ALL I’M AN ART LOVER (2009, Christian Jankowski)

” Regen Projects is pleased to present Above All I’m an Art Lover, an exhibition of work by German artist Christian Jankowski. Conceptually based, his projects blur the boundaries between fiction and reality, often involving a dialogue with a specific social environment. Defying conventional notions of media and performance, Jankowski’s past collaborators include magicians, fortunetellers and Customs guards. Exploring the position of the artist, he welcomes what is often a spontaneous or unexpected development as a result of his collaborations. Consequently, participants take on an active role in the work becoming contributors as opposed to subjects, and their association ultimately dictates the development of the work. Combining fictional situations with social interactions, Jankowski is able to create surprising and humorous intersections between popular culture, theatricality and the question of authorship. Employing the media of film and television, he is able to explore the art world and its discourse.

Jankowski’s earnest engagement of his medium enables him to recapture art’s mystery. His use of a circular mode of production presents a critique of the contemporary relationship between artist and viewer and attempts to break down the speeded-up forms of communication which have worsened our contemporary alienation. In addition, he embeds a strong sense of a human presence in his work through a transformative use of collaboration, humor, the subjective voice and the somewhat naïve manner in which he approaches technology.

(Jeff Fleming, “Christian Jankowski: The Big Wow,” in Christian Jankowski: Everything Fell Together. Des Moines, Iowa: Des Moines Art Center, 2005. p. 13) ”

3.Artur Zmijewski’s videos from Poland
” Artur Zmijewski is a radical artist, realising extreme artistic concepts. In his works, in a nearly obsessive manner he thematises the human body perceived in the context of its physicality, its base biological functions. This perspective imposes questions about the relationship between the body, susceptible to illness and decay, and the sphere of human mind and spirit. What the artist finds most interesting, are cases, where heavy bodily dysfunction and severe disease foreclose any possibility of participation in social life and even destroy the mind. At the same time, he admits, those defects create a kind of otherness, seductive and much more telling than anything we consider normal. And this is Zmijewski at his most poignant. ”

4.GOD (2007, Ragnar Kjartansson, 30 min)

5.Lawrence Jordan’s films

6.A LIFE OF ERRORS (2006, Nicholas and Sheila Pye)
” The Pyes’ oeuvre is an exploration of the magnetic attraction of opposites, and a visual depiction of the struggle to retain one’s sense of self in a close relationship with another person. Compelled beyond reason, the figures in the film wage a war with one another—grabbing tokens of the other’s person (locks of hair are slyly snipped) and setting traps. Perhaps most unsettling of all, the attacks are executed consensually. A blindfolded Nick allows Sheila to lead him around and over sharp and broken objects as the soles of his feet are cut. In a parallel, climatic scene, Sheila is guided by Nick into a circle defined by a fuse. She, masked and docile, jumps rope as he sets the ring on fire. The flames, her activity, and (metaphorically) the violent passion that hangs over the entire scenario consume all the oxygen in the small space, causing Sheila to collapse. Nick meets his own fate when he delivers Sheila’s lifeless body to her bed only to fall over a rope that she has rigged to trip him. ”

7.LOUDLY, DEATH UNTIES (2007, Nicholas and Sheila Pye, 11 min)
” A banshee girl burrows her way into the back room of a couple’s home, releasing foreboding wails in this expressive and captivating experimental short. When one of the lovers begins succumbing to mysterious forces, it seems the banshee’s prophecy will be inevitably fulfill. ”

8.LOVELY ANDREA (2007, Hito Steyerl, 30 min)

“If all pictures became current, in that they pass by and in doing so, are connectable with one another, whether elegantly or obscenely, through translation or association—how would it be possible to fasten down a picture? Hito Steyerl’s light-hearted picture translations are about fastening things in an elegant-obscene way: In Tokyo she is looking for a photo series that she posed for in 1987 as a “rope bondage” model. While making inquiries with experts and authorities in the bondage arts (which are mainly marketed online nowadays), she found what she was looking for in a magazine archive. The cinematic tension is extremely high just now says the translator while Steyerl looks through photos of herself from her days as a film student. Something that fastens, but no biographical final revelation; instead, the discovered photographs fall into the slipstream of an informally networked archive of a life with bondage as conveyed by the media—in the sense that the master and slave games, as they’re called, have become entirely normal.”

9.NACH SPANDAU (2008, Claire Hooper, 53 min)
” Nach Spandau (2008), a new film by Claire Hooper, is a demonstration of an artist well versed in the language, techniques and motifs of cinema. While the work comes, at times, dangerously close to a staid retread of familiar precedents, Hooper manages to engage for the film’s entire 52-minutes, as she documents one of Berlin’s most architecturally attractive Metro lines: the U7. Spanning from the eponymous terminal to the city’s south-eastern fringes, the line was designed between 1971 and 1984 by engineer Rainer G. Rummier and is a mix of decorative Modernist stylings and run-down shopping kiosks. Hooper impressionistically documents each station with a series of collaged, forensically slow pans. The film isn’t narrated, the only sounds being the occasional rumble of a passing train or the crackle of a PA announcement ”

10.THE PAPER WALL (2004, Nicholas and Sheila Pye)

” Nick and Sheila Pye primarily work with video and photography, their projects explore themes of intimacy and emotional interdependence. In their ten-minute video titled ‘The Paper Wall’, a thin division stands between two characters in separate bedrooms. The two protagonists – played by the artists – use nonverbal communication of fear and desire. They grow increasingly dependant on one another while performing a series of choreographed gestures that include basic bodily functions such as breathing and urinating. The silent characters in the Pyes’ moody, erotic video open the work to several potential narratives ”

11.ROOFTOP ROUTINE (2007-2008, Christian Jankowski)

12.SEX IS SENTIMENTAL (2009, Erik van Lieshout, 21 min)

” Using a makeshift animation table and narrating the action as he goes, Van Lieshout combines drawings, collage, photographs, scrawled titles and live action into a cascade of funky imagery seemingly without style or technical guile. Artless and insouciant, the narrative nevertheless flows along with considerable verve and wit, propelled almost entirely by the force of the artist’s own charming personality. ”

13.UNIVERSAL CITIZEN (1986, Peter Thompson, 23 min)

14.UP! (2007, Erik van Lieshout)
” For ‘UP!’ (2005) Van Lieshout underwent therapy, focusing on his relationship with his mother. His lofty goal was to learn tolerance and thus overcome personal crisis. Van Lieshout concludes that he is, like his mother, unable to listen. The problem is that he constantly needs to talk. But rather than being simply a mouthpiece for himself, the work forms the framework for a plural narrative structure: for his own actions and utterances, in direct speech to his mother and his therapist and as a commentary on the film we are watching. ‘I wanna be in control, on top, in control’, the artist notes soberly, referring to his ‘ego’, over which he clearly loses control on a regular basis ”

15.WHY WE MEN LOVE TECHNOLOGY THAT MUCH (1985, Stefaan Decostere, 65 min)
” The documentary Why We Men Love Technology That Much was made in 1985 to analyze the close relation between war and technology. The video shows how war, speed and technology organize and reorganize reality, until only filtered reality remains. The artists – Klaus vom Bruch in video and Jack Goldstein in paint and sound – propose their personal artistic versions of it.Since then, no radical change has occurred in the relation between war and technology. It has only became more intensified. Technology brings the logic and reality of war even closer into our daily lives. Nowadays we all are actively involved with media. Digitisation, virtualisation and automation are our major interactions on a massive scale with technology. They guideline the basic moves possible in the playing field here. ”


17.THE WORLD OF LYGIA CLARK (1973, Eduardo Clark, 27 min)

18.Yael Bertana’s videos

Mariko Okada, a Japanese actress

1.DANCING GIRL (1951, Mikio Naruse)


3.MY WONDERFUL YELLOW CAR (1953, Senkichi Taniguchi) written by Akira Kurosawa

4.HUSBAND AND WIFE (1953, Mikio Naruse)

5.THE LOVERS (1953, Kon Ichikawa)

6.FLOATING CLOUDS (1955, Mikio Naruse)

7.WOMEN IN PRISON (1956, Seiji Hiramatsu) starring Setsuko Hara and Kinuyo Tanaka

8.FLOWING (1956, Mikio Naruse)

9.SEASON OF THE WITCH (1958, Minoru Shibuya)

10.AN AFFAIR AT AKITSU (1962, Yoshishige Yoshida)

11.THIS YEAR’S LOVE (1962, Keisuke Kinoshita)

12.ESCAPE FROM HELL (1963, Kazuo Inoue)

13.RADISHES AND CARROTS (1964, Minoru Shibuya) from Yasujiro Ozu’s story

14.THE SCENT OF INCENSE (1964, Keisuke Kinoshita, 201 min) starring Nobuko Otowa and Kinuyo Tanaka

15.A STORY WRITTEN WITH WATER (1965, Yoshishige Yoshida)

16.WOMAN OF THE LAKE (1966, Yoshishige Yoshida) from the story of Yasunari Kawabata

17.TWO WIVES (1967, Yasuzo Masumura)

18.THE AFFAIR (1967, Yoshishige Yoshida)

19.FLAME AND WOMEN (1967, Yoshishige Yoshida)
20.AFFAIR IN THE SNOW (1968, Yoshishige Yoshida)

21.THE TIME OF RECKONING (1968, Tadashi Imai)

22.FAREWELL TO THE SUMMER LIGHT (1968, Yoshishige Yoshida)

23.EROS PLUS MASSACRE (1969, Yoshishige Yoshida)

24.HEROIC PURGATORY (1970, Yoshishige Yoshida)

25.CONFESSIONS AMONG ACTRESSES (1971, Yoshishige Yoshida)

26.I AM A CAT (1975, Kon Ichikawa) from the novel of Natsume Soseki

27.THE FALL OF THE AKO CASTLE (1978, Kinji Fukasaku, 159 min)


29.THE GEISHA HOUSE (1999, Kinji Fukasaku)


David Levinthal, a photographer



–THE WILD WEST 1987-1989


–MEIN KAMPF 1993-1994


Wish list for April 2009






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