Media Arts Program
 


Saturday, February 18, 2006

Co-sponsored/co-presented by:
The Carnegie Art Center

NOW AGAIN THE PAST: REWIND REPLAY RESOUND - BOOMERANG: THREE SHORT REMAKES

Presented at:
Hallwalls

Programmed in conjunction with NOW AGAIN THE PAST: REWIND REPLAY RESOUND
an exhibition at the Carnegie Art Center, Tonawanda, February 11—March 18, 2006

THE TOUCH RETOUCHED by Marie Losier (6 min. video, 2002)
In 1971, Ingmar Bergman made his only American film, THE TOUCH, starring ensemble regulars Max Von Syndow and Bibi Anderson, along with early 70s everyman Elliott Gould. In 2001, Marie Losier decided to recast herself in Gould's role, breathing new life into Bergman's most awkward, ill-conceived and dubious filmic endeavor.

SHULIE by Elisabeth Subrin (37 min. 16mm on video, 1997)
"Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin...resurrect(s) a little-known 1967 documentary portrait of a young Chicago art student (Shulamith Firestone) who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, SHULIE functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film." — Mark MacElhatten and Gavin Smith

I'M BOBBY by Xav Leplae (32 min. video, 2003)
"I'm Bobby serves up an unbidden but utterly delightful détournement of the classic Bollywood blockbuster Bobby (Raj Kapoor, 1973), considered scandalous in its day (by puritan national cinema standards) for an eroticised treatment of its cross-caste teenage love story. Filmed on location in India, the work shoehorns the original film's narrative into a half-hour long contraption of exaggerated zooms and bumpy edits, and recasts the adolescent roles with adorably awkward pre-teens.... Throughout, the child actors alternate with crudely drawn paper-cutout figures representing the same characters, a device that generates surprising dramatic tension in a climactic chase." — Senses of Cinema


Some publications related to this event:
February, 2006 - 2006

 
 
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IN THE GALLERY
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David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...