Sunday, December 3, 2017, 7:30pm
Los Angeles Filmforum presents
Ism, Ism, Ism: Altered Surfaces
At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd, Los Angeles, CA 90028
Guest: Manuela De Laborde, from Mexico
INFO: www.lafilmforum.org, 323-377-7238
Abstraction has been a recurring strategy in Latin American visual cultures since long before the European Conquest. Over the past century, and often in dialogue with artists elsewhere, Latin Americans working in diverse media have explored both abstraction, or in the case the Concrete art movement, who rejected the term “abstract” art as too suggestive of a link to a figurative realm that is being abstracted, “pure” explorations of color and form. Not surprisingly, filmmakers have participated actively in this process of exploration, often in collaboration with artists from other media. Enrique Pineda Barnet’s Cosmorama (1964) uses the kinetic sculptures of the Romanian-Cuban artist Sandú Darié Laver as a point of departure to produce an experimentation of visual illusions and sonic textures. Other filmmakers proceed from urban and architectural references, such as Prague’s public transit system in Azucena Losana’s At Your Heels (2017), or the Cathedral of Notre-Dame in Teo Hernández’ Nuestra señora de Paris (1981-1982), and render these in ways that cross back and forth between abstraction and recognizable representations, while still others reference the altered sensory perceptions and exaggerated color palettes of psychedelic experiences. Offering an abstract journey into theatrical spectatorship, the images in Laborde's As Without So Within document reflective prop-sculptures, which are transformed into tools for creating visual fields. Manuel DeLanda's creates Electric Arthropods with extreme enlargements of various insects, digitally manipulated and colorized with animated particle backgrounds, as part of his continuing search for the uncanny in the alteration of the everyday and the prosaic. Together, like the diverse approaches of the concrete, neo-concrete, geometric abstraction, “grupo Madí,” “grupo Ruptura,” and other movements in the visual arts, these filmmakers pursue colors, light, shadows, and forms as the basis for their work.
Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://alteredsurfaces.bpt.me or at the door.
For more information: 323-377-7238 or www.lafilmforum.org
Screening:
Nuestra señora de Paris
Teo Hernández, 1981-1982, 22 min., 16mm, 18 fps, color, sound, France
At your heels
Azucena Losana, 2017, 2:36 min, 16mm, color, sound, Argentina/República Checa
Electric Arthropods
Manuel DeLanda, 2017, 3.30 min, color, sound, USA
California Premiere
Placeres de la Carne
Horacio Vallereggio, 1977, 12 min, Super 8, color, sound, Argentina
Cosmorama
Enrique Pineda Barnet
1964, 5 min., 35mm film transferred to digital, color, sound, Cuba
As without so within
Manuela de Laborde, 2016, 25 min, 16mm, color, sound, Mexico/USA/United Kingdom.
Total running time: 65 min.
Manuela de Laborde is an artist and filmmaker from Mexico City. Laborde’s practice, by abstracting concepts from their concrete properties, looks to create [virtual] spaces and [regenerate] the image. Inspired by simplicity of expression, economy of detail, location of exhibition, her practice is a meditation on physical presence. To the eye, her work carries aesthetic claims and pleasure; yet in its presentation is performative and in its purpose, conceptual. In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam among others. Manuela studied Film & Video (MFA) at the California Institute of the Arts and an Art (BA) at Edinburgh College of Art.
This screening is part of Los Angeles Filmforum’s screening series Ism, Ism, Ism: Experimental Cinema in Latin America (Ismo, Ismo, Ismo: Cine experimental en América Latina). Ism, Ism, Ism is an unprecedented, five-month film series—the first in the U.S.—that surveys Latin America’s vibrant experimental production from the 1930s through today. Revisiting classic titles and introducing recent works by key figures and emerging artists, Ism, Ism, Ism takes viewers on a journey through a wealth of materials culled from unexpected corners of Latin American film archives. Key historical and contemporary works from Argentina, Brazil, Bolivia, Chile, Colombia, Cuba, Ecuador, México, Paraguay, Perú, Uruguay, Venezuela, Puerto Rico and the United States will be featured. Many of the works in the series are largely unknown in the United States and most screenings will include national and area premieres, with many including Q&A discussions with filmmakers and scholars following the screening. The film series will continue through January 2018 at multiple venues, organized by Filmforum. www.ismismism.org
Ism, Ism, Ism is accompanied by a bilingual publication, Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America (Jesse Lerner and Luciano Piazza, editors, University of California Press, 2017) placing Latino and Latin American experimental cinema within a broader dialogue that explores different periods, cultural contexts, image-making models, and considerations of these filmmakers within international cinema. Available worldwide, https://www.ucpress.edu/book.php?isbn=9780520296084.
Ism, Ism, Ism is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Explore more at www.ismismism.org, lafilmforum.org, and www.pacificstandardtime.org.
Lead support for Ism, Ism, Ism is provided through grants from the Getty Foundation.
Significant additional support comes from the Andy Warhol Foundation for Visual Arts, the National Endowment for the Arts, and the Mike Kelley Foundation for the Arts.
Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles. We also depend on our members, ticket buyers, and individual donors.
Los Angeles Filmforum is the city’s longest-running organization dedicated to weekly screenings of experimental film, documentaries, video art, and experimental animation. 2017 is our 42nd year.
Coming Soon to Los Angeles Filmforum:
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