f.p. boué, infinite instant
March 6 – April 10, 2011
Opening reception, Sunday, March 6, 7-9pm
Performance with Ben Boatright,
Sunday, April 10, 7pm
From March 6 – April 10, 2011, PARTICIPANT INC is pleased to present the first New York solo exhibition of f.p. boué, infinite instant. Known for his time-based work, particularly in small gauge film, Boué incorporates the element of time into his manifold constructions of architectural experience in infinite instant. This site-specific installation includes sculptural elements, films, drawings and, as noted by Dan Sherer, essayist for a companion publication, “is motivated by a concern with the reciprocal translation between the two-dimensional representation of architecture and its three-dimensional reality….”
Boué’s focus on the intersection of art and architecture takes a variety of overlapping forms in which specific architectural shapes or engineering feats, both mundane and monumental, are deprived of their mass, volume, function and/or rendered at scales uncommon to the original. In this particular economy of representation, both the aesthetic domain and that of architecture undergo a transformation. This change finds its point of unstable equilibrium in Boué’s working methods, which separate buildings from their sites and reconstructs them as detached artifacts that simultaneously recall and negate their original characteristics.
In addition to structures scaled to the exhibition space itself, in particular under-utilized vertical space, Boué produces model-like constructs resembling known or obscure buildings in Switzerland and Northern Italy, rendered in common materials such as cardboard, cinderblocks, and homasote panels. “In simultaneous reference to two and three dimensions, his work assumes the role of analogue of any possible form of constructed space, thereby introducing forms unanchored to any specific medium. Boué thus creates a world of architectural semblances that capture the quality of the neutral as pure exteriority, realizing a built form that is all ‘outside’.” (Sherer, “infinite instant,” forthcoming 2011)
F.P. Boué was born in Marburg, Germany and studied linguistics, the history of art, architecture, and film in London and Paris. He lives and works in New York and has been exhibiting three-dimensional works involving architecture, landscape, and urban situations since 1981. His work has been exhibited at Galleria Luigi Deambrogi, Milan; Galerie Chantal Crousel, Paris; Galerie Corinne Hummel, Basel; ARC, Paris; and Markus Winter, Berlin. He began showing films in 1999. His films have been exhibited at the Museum of Modern Art, New York; Kunstmuseum, Bern; Künstlerhaus, Stuttgart; the Museum für Moderne Kunst, Frankfurt; New Museum, New York; and Tate Modern, London, among others.
THIS WEEK: Thursday 3/10 to Monday 3/14
EVENTS
SAT March 12, 7pm
image courtesy of Tenzin Phuntsog
FOUR RIVERS, by Tenzin Phuntsog (artist in person)
video, color, sound, 2010
67 minutes
Admission $6
We are very pleased to welcome Brooklyn artist Tenzin Phuntsog for a special screening of his most recent feature "Four Rivers", shot in Tibet in 2010. Phuntsog – a Tibetan born and raised in India – spent over 2 years researching and preparing to make the film, which was inspired by a 1940s book by an Indian Swami involving journeys to the source of Tibet’s four rivers. When he was ready to begin work on the video, however, Phuntsog found himself denied an entry visa. Refusing to abandon his project, he sent a cameraman into Tibet with detailed instructions on where and how to shoot a landscape he had never before seen. "Four Rivers" is a remarkable work of inspiration and perseverance and of beauty. The film has two versions: with voiceover & with natural sound. We are showing the one featuring natural sound.
Tenzin Phuntsog (b. New Delhi, India 1982) is a Tibetan filmmaker and artist who graduated with an MFA from Columbia University. His films explore fundamental and provocative aspects of time and space, contrasting the esoteric and the modern. Phuntsog founded the Tibet Film Archive in 2005 to restore and preserve films from Tibet's bygone era for future generations. By restoring and preserving these cultural relics to archival standards and digitizing them to modern media formats, Tibet Film Archive hopes to bring together the qualities of archival preservation and philanthropic service.
MON March 14, 7pm
image courtesy of Michael Snow
PUCCINI X 4
4 films on Puccini by Steve Dwoskin, Michael Snow, Anthea Kennedy & Ian Wiblin, Tsai Ming-Liang
color, sound, DVD, 56 minutes
Admission $6
We are showing 4 of the works from Twenty Puccini, a project in which fifteen filmmakers from around the world, united by their free and fiercely individualistic approaches to cinema, contributed to a series of short films honoring the 150 year anniversary of the birth of Giacomo Puccini in 2008. Each film provides a unique and personal take on the music of a master composer, equally loathed and revered for his grandiloquence and lyricism. These re-interpretations of Turandot, La Fanciulla del West (The Girl from the West), La Bohème, & Madame Butterfly were created with no inhibitions, no budget and no limits, giving free reign to the poetic and independently minded sensibilities of the participating artists. Twenty Puccini is a project by Paris-based film production project House On Fire, in collaboration with the Lucca Film Festival.
EXHIBITION
TAKAHIKO IIMURA: BETWEEN THE FRAMES opens Saturday March 19, 6-9PM and runs through April 11th.
more info on Events & Exhibitions at www.microscopegallery.com
MICROSCOPE Gallery
4 Charles Place
Brooklyn, NY 11221
347.925.1433
AT ANTHOLOGY FILM ARCHIVES::
see website for more info, other times and more good movies!!
Thursday, March 10
7:30 PM
F.P. BOUÉ: SITE SHORTCUTS
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This screening is part of: NEW/IMPROVED/INSTITUTIONAL/QUALITY
Film Notes
After a long absence from our screens, one of Anthology’s favorite filmmakers, F.P. Boué, returns to the Maya Deren Theater with an all-new found sound and moving image presentation.
Boué, who studied linguistics, as well as the history of art, architecture, and film in London and Paris, has been showing three-dimensional works focusing on structures or phenomena in the natural and urban landscape since 1981, and began presenting films in 1999. His work has been exhibited at the Museum of Modern Art, New York; Kunstmuseum, Bern; Künstlerhaus, Stuttgart; the Museum für Moderne Kunst, Frankfurt; Tate Modern, London; and the New Museum, New York, among others.
SITE SHORTCUTS is a program of alternating elements. Short Super-8mm film and sound components captured at different sites have been collected and arranged for this time-specific presentation. The screening is scheduled to coincide with Boué’s first-ever multimedia solo exhibition in New York, opening at Participant Inc. on Sunday, February 27 and running through Sunday, April 3, 2011.
For detailed program info, please visit Anthology’s website in mid-February: www.anthologyfilmarchives.org
Total running time: ca. 55 minutes.
Thursday, March 10
HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE
by Frank Henenlotter & Jimmy Maslon
2010, 106 minutes, video
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This screening is part of: HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE
Film Notes
Filmmaker Frank Henenlotter (BASKET CASE, FRANKENHOOKER), co-director Jimmy Maslon, and Something Weird Video have joined forces to chronicle the amazing exploits of H.G. Lewis from the 50s to the present day. Featuring John Waters, Joe Bob Briggs, and a variety of cast and crew members from many of Lewis’s films, it’s a documentary as mad and unique as the story it tells. As someone who not only lived through 42nd Street’s sleazy reign as ‘the Duece’ but who enjoyed wallowing in it, Henenlotter learned a lot from the cheap gore and twisted sex films that painted the walls of 42nd Street’s grindhouses, and it’s that sensibility that shines in this cinematic exploration of H.G. Lewis’s outrageous career.
BLOOD FEAST
by Herschell Gordon Lewis
1963, 67 minutes, 35mm
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This screening is part of: HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE
Film Notes
In 1962, David F. Friedman and Herschell Gordon Lewis had tried every trick in the book when it came to exploitation filmmaking. From nudist camps to peeping toms to sex kittens gone bad, they had done it all. In a quest to broaden the definition of just what an exploitation film could be, they tried hard to invent a genre that no one had attempted before. What they stumbled upon was ‘Gore’, and movies have been a lot less wholesome ever since. With its lack of production values and real actors, the sparseness of the score, and the absolutely demented nature of the bloody gore scenes, BLOOD FEAST is a bizarre, totally unique film experience. Call it cheap, say it’s in bad taste or even disgusting, but the fact remains: there’s nothing quite like BLOOD FEAST.
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Millenium Film Workshop check website for more screenings
:: they show things every SATURDAY AT 8PM!!!
MARCH 12 (Sat.) COLEEN FITZGIBBON: PUBLIC RECORDS
STARTING TIME - 8pm Admission $8 / $6 members
Coleen Fitzgibbon was active as an experimental film artist under the pseudonym "Colen Fitzgibbon" between the years 1973-1980. A student at the School of the Art Institute of Chicago and the Whitney Independent Study Program, she studied with Owen Land (aka "George Landow"), Stan Brakhage, Yvonne Rainer, Carolee Schneemann, Vito Acconci, She formed the collaborative X&Y with Robin Winters in 1976, The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince and Winters in 1979, and is best known for co-founding the New York based Collaborative Projects, Inc. (Colab) Fitzgibbon came to NYC from Chicago in the 1970s and worked at Millennium where she had some of her first one-person screenings. in 1977 through 1981, along with artists Kiki Smith, Jenny Holzer, Liza Bear, Betsy Sussler, Andrea Callard, John Ahearn and Tom Otterness, among others. Fitzgibbon has screened her work at numerous international film festivals and museums, including The Toronto International Film Festival 2009, Museum of Modern Art, EXPRMNTL 5 at Knokke-Heist, Belgium, Institute of Contemporary Art, London, Anthology Film Archives and Collective For Living Cinema.
"Between 1973 and 1976, Coleen Fitzgibbon produced a series of films that stand as some of cinema's most rigorous explorations of the medium. Associated with the Structural film movement and New York's No Wave scene, Fitzgibbon's films emphasize time, duration, and their own flickering mechanics while also hinting at a deeper socio-cultural meaning" -Gene Siskel Film Center
DAILY NEWS (6 min.-1974)
DER SPIEGEL (9 min.-1976)
INTERNAL SYSTEM FOURTH PASS (15 min.-1974-2010)
DOCUMENT (PUBLIC RECORDS) (6 min.-1976-2010)
DICTIONARY (3 min.-1975-2010)
TIME (8 min.- 1975-2009)
Note - Most works shown are film to digital transfers.
On Internal System Fourth Pass:
"4 sections of the same time in the same place." - CF
"In one of her more minimalist films, the viewer is presented with nothing but a blank monochromatic frame slowly shifting through various intensities of color saturation, flickering/shuttering repeatedly from light-to-dark and back again...Technical information such as filmstock, film speed, film length, camera, lens, shutter, projector, and a host of other data appear on the screen like hieroglyphs of some secret language to be decoded...Whether we know what this cybernetic schemata means or not, Internal Systems abandons us to the pure phenomenological ecstasies of cinematic temporality - the reveries of a radical filmic monochromism. At the end of the sojourn the titles repeat but in negative, as if the experience of their effects purely visceral rather than analytical - offer no direct correlation to the mechanism they wield." -Collaborative Projects, Inc.
Sorry this is a mess - copying from the web does this- this will get you started. I can not always post upcoming shows there are just TOO many in NYC. So just always keep your eyes open and check out these places sites.
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Katherine