From: Rachael Rakes (email suppressed)
Date: Wed Jan 13 2010 - 17:55:21 PST
Thursday, 1/14, 6:30pm. Doctruck at Studio-X: "Land and Noise, Space and Silence"
A selection of experimental non-narratives that explore cities of silence,
suburbs of noise, indoor discomfort, and a prison wall. Presented by
Doctruck, a "traveling, sporadic, fun, depressing, and possibly
experimental documentary series" curated by Rachael Rakes. Special
appearances by filmmakers Pawel Wojtasik, Benj Gerdes and Katherin McInnis. Free
Democratic Looking, Benj Gerdes, 1:30, 2008
Horizon Lines, Katherin McInnis, 1:00, 2009
Null X, Jans Groot, 6:00, 2004The Shutdown, Adam Stafford, 10:00, 2009
In Order Not To Be Here,Deborah Stratman, 33:00, 2002
And recent work by Pawel Wojtasik
Free and open to the public. Drinks and talking afterward.
RSVP: email suppressed
Where: Studio-X New York, 180 Varick Street, Suite 1610
1 train to Houston Street
[Studio-X is a downtown studio for experimental design and research
run by the Graduate School of Architecture, Planning and Preservation
of Columbia University.]
More about the films:
Benj Gerdes, Single-channel video, 1:30, 2008
A rally, some questions, bodies in each other’s space.
Katherin McInnis,1:00, 2009
Line excavates the relationship between social and natural geographies
at Eastern State Penitentiary, one of the first prisons in the United
States. The walls were painted to reflect the horizon line outside the
walls; the prison’s decay has turned this two dimensional land and sky
into intricate textures and layers: a physical incarnation of the
passage of time. This is the first work in a series.
Jans Groot, 6:00, 2004
0000 0000 1110
0111 (NULL X in binary code) is a film about the contemporary built
environments. The form of many buildings and infrastructural elements
are characterised more
and more by an apparent introversion. The place (X) is no longer
clearly defined, and the result is that large parts of the landscape of
an industrial estate, of vast parking-lots and of shopping malls. The shooting took place around Benidorm,
in the anonymous zone on the edge of this pre-eminent Non-Place. The
camera tries to watch the world as a projection through a mesh,
according to the mathematical perspective.
Adam Stafford,10:00, 2009
At night, the boring, drab green landscape near the Scottish villages of Falkirk and Grangemouth transforms
into a mysterious, almost divine black and orange purgatory. Torches
illuminate the discharge of the chemical factories and the smokestacks
seem like a silent city. Bissett grew
up in this industrial environment and talks about the accident in the
factory that left his father disfigured. Menacing music accompanies the
raw tone of his voice. He introduces the smokestacks as fire-spouting
monsters that gave his father hell and left him with terrible burns. Bissett discusses
the orange glow that descends upon the houses, lovers' lanes, and
soccer fields of the Scottish villages. At first it seems romantic, but
it also serves as an everlasting reminder of the chemical company's
more dismal effects: from cancerous substances that cause birth defects
to deadly accidents on the job. The footage that cinematographer Leo
Bruges shot of the landscape -- an illuminated ghost town -- are like
still lifes that illustrate the story Bissett recounts in the voice-over.
In Order Not To Be Here
Dir Deborah Stratman, 33:00, 2002
uncompromising look at the ways privacy, safety, convenience and
surveillance determine our environment. Shot entirely at night, the
film confronts the hermetic nature of white-collar communities,
dissecting the fear behind contemporary suburban design. By examining
evacuated suburban and corporate landscapes, the film reveals a peculiarly 21st
century hollowness… an emptiness born of our collective faith in safety
and technology. This is a new genre of horror movie, attempting
suburban locations as states of mind.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.