From: fred truniger (email suppressed)
Date: Mon Jun 12 2006 - 06:00:48 PDT
yes, by chance, I was at the ocularis show of guy sherwin last week.
although swiss myself, I agree with deke duinsbere about skipping
France vs. Switzerland for a night at the movies. the show was very
nice indeed, something you see not too often these days. sherwin was
juggling up to five projectors in various ways exploring many
possibilities the setup gives at hand.
I was very taken with the piece he showed first (presumably cycles
#3) that has a strong flicker coupled with a mechanic, repetitive
sound. it's, like many flicker films, a very engaging work and seized
our attention almost immediately. A wonderful opening for the evening
using two projectors whose picture are superimposed but not (at all)
congruent.
This was followed by two films that deal with words and caracters
(Vovels and Consonants / Newsprint #2) in which Sherwin manipulates
his projectors, moving them around and stopping them at times for a
few seconds and creating a very easy rhythm for the screenings. The
characters and newsclippings are liberated from their meaning and
become purely aesthetic signs. Not my favourite pieces but I'm sure
others will admire them.
In Railings Sherwin turns the projector to its side, projecting a
high-format image of railings, again creating a strong rhythm both in
his picture and on the soundtrack. the shots are edited following (if
I'm not wrong) a A B C A B C A B C structure. A very nice piece this
as well.
After this Camden Station had three projections, neatly next to each
other. The shot is the same, but the time is different. Three screens
oscillating between different layers of the past tense.
Unfortunately I had to leave the screening after the next piece Under
the Freeway, single screen this again (wright?), just observing the
day to day life. I then saw the first moments of Bay Bridge from
Embarcadero and had to go. This looked interesting: Three same sized
screens were placed with a slight overlap on each side, creating a
peculiar sense of a panorama but one with different time-levels in
three slightly shifted frames of the (more or less) same view.
I'm sure the rest of the programme was interesting, too and wish I
had seen it.
Thanks! to guy sherwin and the ocularis for the wonderful programme
and the extraordinary preparation this must have taken. I wish I
lived next door! However, a slip of paper might have enhanced the
feeling, giving some basic information about the works and thus
helping through the evening. but the information is actually on the
website...
ok. since I have seen the programme already, I might go and see the
match somewhere in my little town.
cheers,
fred
Am 12.06.2006 um 13:36 schrieb Andy Ditzler:
> Did anyone on the list see the Ocularis show with Mr. Sherwin last
> week? I'd love to know how it went.
> So glad his work is being mentioned here. I showed his Short Film
> Series last year and highly recommend it. Wonderful and inspiring
> films.
>
> For the curious, there is an excellent introduction to Sherwin's
> work by Nicky Hamlyn on the Lux website.
> http://www.luxonline.org.uk/articles/essays/guy_sherwin/detail1.html
>
> And my own notes from the screening last year are at http://
> andel.home.mindspring.com/availablelight03.htm
> -------------------
> Andy Ditzler
>
>
> ----- Original Message ----- From: "deke dusinberre"
> <email suppressed>
> To: <email suppressed>
> Sent: Monday, June 12, 2006 2:38 AM
> Subject: Sherwin in Paris
>
>
> For any Frameworkers in Paris (not Texas) who haven’t already seen my
> post on Nyctalope, a piece of advice: skip the France vs. Switzerland
> soccer game on Tuesday night and catch Guy Sherwin’s double screening
> at Scratch. It should be an “historic” evening in every sense of the
> term. His work is far too little known—he was a pivotal figure at the
> London Film-Coop in the 1970s, an active contributor to the British
> school of expanded cinema (cf. the recent discussion of Annabel
> Nicolson’s “Reel Time”), and has been quietly making films ever since.
> The almost child-like gaze he brings to moving pictures (and sounds)
> slowly yields subtle, zen-like revelations.
> I don’t know how he will re-enact (or update) such key early works as
> “Paper Landscape” (1975) and “Man with Mirror” (1976), but it will
> certainly be worth a trip to Les Voûtes to find out.
>
> [Disclosure statement: Guy is an old friend from my London days, so
> this plug may lack a certain objectivity--but I’ll still stake my
> critical reputation on his work.]
>
> Deke Dusinberre
> PS: College grads welcome.
>
> Practical details:
> Scratch Projection, Tuesday June 13th. 8pm ‘til late
> Les Voûtes
> 19 rue des Frigos
> 75013 Paris
>
> email suppressed
> Tel: (33-1) 42.54.38.05 / Fax (33-1) 42.54.37.63
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.