Saturday, February 28, 2009
Coil were an English cross-genre, industrial experimental music group formed in 1982 by John Balance—later credited as "Jhonn Balance"—and his lover Peter Christopherson, aka 'Sleazy'. The duo worked together on a series of releases before Balance chose the name Coil, which he claimed to be inspired by the omnipresence of the coil's shape in nature. Today, Coil are one of the most influential and best known industrial music groups.
Thursday, February 19, 2009
Thursday, February 12, 2009
Occasionally the ridiculous veneer of a media image is perforated. I think Joaquin Phoenix does a brilliant deconstruction of David Letterman, through the device of silence.
Flick Flack (Extract)
MARVOMOVIE (1967) taken from GAZWRX: The Films of Jeff Keen (Out Feb 23)
An extract from an early Jeff Keen animation (1962) with a soundtrack recorded (by keen) in 2007 using an old Wasp synth and shortwave radio.
An extract from Jeff Keen's breakneck Artwar series last performed as a multi-projection event at Brighton's Phoenix gallery 2006.
'Jeff Keen has been collecting props from dumpsters and toy shops, spray painting them, setting fire to them and animating the results for forty years. His underground films pre-date Warhol, his fans include some of the most notorious and legendary figures in the world of cinema. Forget the so called greats of the silver screen, the true cinematic visionaries are elsewhere, hidden away, woefully neglected by the bulk of historians, working like alchemists with their old super 8 cameras, chocking refrigerators full of nearly out of date stock and bizarre props made from scrap or purchased in bulk from the pound shop. Jeff keen is one such figure, a true great of the avant-garde, experimental and underground film...' Jack Sargeant
Born in 1923 and having served as a soldier in World War Two, Jeff Keen began making films at the age of 37, prompted by a dearth of screenings at the local art-school film society. So began over 40 years of unique, imaginative, irrepressible film-making that has outlived the various scenes in which it thrived: the 60s counter-culture, punk and beyond. Featuring animated cut-outs and paintings, and populated by friends and family in a variety of guises, including The Cat Woman, Silverhead, Babyjelly and many more, these frenetic films reveal Keen's deep love of comics, B-movies and pulp novels while also making darker references to wartime experience.
Using various film stocks, though always preferring 8mm - as more oppositional, more disposable, less of a sell-out - this self-taught artist and pioneer of independent film impresses a very personal and highly individual stamp upon all his work. Often dubbed ‘pop art', these explosive films conjure all manner of associations: graffiti art, surrealism and home movies from the future...
Drawn from the various phases of his output - from his turn-of-the-60s beatnik movies through to the apocalyptic beauty of his multi-layered videos of the 90s - these four programmes offer a new and long overdue opportunity to explore the alternative cinematic world of Brighton's very own Dr Gaz.
"Whether by design or chance Jeff Keen's filmmaking activities have been dominated by random factors from the start. His initial involvement grew from an association with a Brighton art college film society, which acquired 8mm equipment: 'I was almost like a film factory...I was just turning out movies to justify the existence of the film society.' His earliest extant film, the second version of 'Wail' survives only in an out of focus 8mm dupe and an even more visually bizarre 16mm blow-up taken from it. By 1965 he had made a twin screen 8mm movie 'The Pink Auto' that by its very nature can never be shown identically twice. In 1967 overcoming a reluctance to unite one particular image track with one particular soundtrack in perpetuity, he added sound to his first 16mm film Marvo Movie..." Read Full Article (6 pages)
Wednesday, February 11, 2009
William Burroughs before his investure into the French Academy, in the streets of Paris. With Brian GYSIN, they return to the Beat Hotel and together they recollect (in French) the years 1958 to 1963. BURROUGHS speak (in English) of the book "Electronic Revolution", making the comparison with Watergate, Nixon, and speaks of "Wild Boys". As well Gysin introduces the "dream machine" (or "Dreammachine") and speaks about what this machine brings when one can look for hours. Burroughs speaks about the connection between dreams and his writing and the use of a dreammachine. Raphaël Sorin explains the role of the machine for Burroughs.
Monday, February 09, 2009
A documentary in French on the poet Arthur Rimbaud:
Jean Nicolas Arthur Rimbaud (pronounced /ræm'boʊ/; or in French IPA: [aʁtyʁ ʁɛ̃ˈbo]) (20 October 1854 – 10 November 1891) was a French poet, born in Charleville. As part of the decadent movement, his influence on modern literature, music and art has been enduring and pervasive. He produced his best known works while still in his late teens—Victor Hugo described him at the time as "an infant Shakespeare"—and gave up creative writing altogether before he reached 21. He remained a prolific letter-writer all his life. Rimbaud was a restless soul, travelling extensively on three continents before his premature death from cancer less than a month after his 37th birthday.
Sunday, February 08, 2009
Mayel Lyang Sut Lom is a 20 minute documentary by Tapas Majumdar and Souparna Lahiri that shows the campaigns of the Lepcha community in Sikkim, India, against the construction of large dams in their homeland. The film shows the Lepchas struggle against the damming of the Teesta River and the destruction of the Dzongu region.
Dzongu, on the banks of the Teesta, overlooks the sacred Khangchendzonga the worlds third highest mountain and is home to red pandas, snow leopards, and the famous Khangchendzonga National Park. The Lepcha are waiting in apprehension for the harbingers of development the giant bulldozers, the heavy cranes, the polluting crushers. The film asks whether the dams being built in the name of development will destroy the Lepchas culture, identity and socio-economic fabric. It questions whether the construction of dams on the Teesta will leave the Lepcha homeless and disconnected from their mountains and hills, their sacred rocks and springs, their forests and streams. The film seeks to uncover who loses and who benefits from this kind of development.
The impacts of the Teesta Stage V Hydropower Project, the first big dams being built in Sikkim, have forced the people to come out of the Mayel Lyang (the hidden land) to manifest their apprehensions and concerns in peaceful protests. The film follows the Affected Citizens of Teesta and their protests against the planned dams. It tells the story of the Lepcha people and their supporters, who are not staying silent amidst the plans of the national government to dam their river and flood their land.