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Mire invited by Exis – Experimental Film And Video Festival in Seoul

Mire is invited to the Exis Festival in Seoul, South Korea, to present two film programs. One is a reflection of its lab and the films made by the artists who work here, the other one deals with the idea of film curation, through the favorite themes and patterns of Mire’s screenings.

Program 1 : LAB EXCHANGE PROGRAM : Presented by Aurélie Percevault

This program follows a chronological development of Mire’s lab history… : with different generations of members and their significant projects.

Mes doubles - ISABELLE DEHAYBataille - Julien Quentel & Thomas ChatardSillages#2 - Aurélie Percevault & Antoine LedroitPersistance - Will RiferIsabelle DEHAY – MES DOUBLES
2000 / 16mm > video / b&w / sound / 7′ 20
A video retranscription of a 16 mm film & installation. Harp Improvisation : Murielle Schreder recorded during a performance in a film-concert, nov 2000.
A self-portrait of the filmmaker walking through a bamboo grove, the bamboo canes divide image, like beams of energy, which rhythmically divide the film into levels of negative and positive and are synchronised to the improvised music of a harp.

Thomas CHATARD – 1 JOUR 1 TOUR ( One day, one round)
2005 / Super8 > vidéo / b&w / sound / 4’32 
Drums : Wilfried Thierry
A long bike run around the city of Nantes in the summer of 2005, filmed in black and white Super8 with a stop motion camera. My first hand processed film!

Julien QUENTEL – SIDUS, PSITTACUS 0,10
2010 / video / colour / sound /10’00
Sentences from the writings of Kasimir Malevitch in Czech with French subtitles. In short a hypnosis session with Kasimir and psittacus parrot.

Julien QUENTEL & Thomas CHATARD – BATAILLE (Battle)
2010 / 16mm > video / colour / sound / 10’00
Colour variations on the French national identity, or how to reinvent the French flag

Vincent POUPLARD – LES PROFONDEURS #1 (BLINDDEEPNESS #1)
2010 / 16mm > video / colour/ silent / 4’52
This project was conceived as a film trilogy, based on three walks through fascinating landscapes.
 It remains a work « still » in progress, dealing with silence, spaces and natural elements.

 Les Profondeurs#1 is one shot filmed at the Lake Annecy in the French Alps, in the autumn of 2010.

Aurélie PERCEVAULT & Antoine LEDROIT – SILLAGES #2 – ROUTES – (IN THE WAKE OF #2 – ROADS )
2010 / Super 8 > video – Triple screen / colour/ silent / 5’45
A presence by an absence.
Compression and repetition of the past, these fleeting moments captured (Sillages’s research project page – fr).

Aurélie PERCEVAULT – INZWISCHEN
2012/ Super8 > video / colour / sound / 2’00
In between, in the mean time. Coming and going. There and back to the vanishing point.

Antoine LEDROIT – HANNAH
2012 / video file / colour / sound / 5’12
This film inspired by Michel Tournier’s “Vendredi ou les limbes du Pacifique” (Friday or the Pacific in limbo) is the story of the slow erosion of Hannah’s identity, a narration which itself disappears rapidly in a simple succession of cycles and materiality.

Will RIFER – PERSISTENCE
2011 / Super8 > digital file / colour / silent / 2’00
A short film about the persistence of vision and a colour wheel

Will RIFER –  ANALOGIES
2014 / Super8 > digital file / colour / silent / 3’30
Exploring the space of microscopic distances.
Penetrating the extent of knowledge by going back in time.
Following a heuristic process.
Focusing on the structure of combinations.

Rose LOWDER – BEIJING 1988
1988-2011 / 16 mm / colour / sound / 12′ 17
Musique de François Alexis Degrenier.
China seen from Beijing in May 1988, a year before the spring of the Tiananmen rebellion in 1989, where the ancient traditional philosophies and social practices confront the political and economical ideological ambitions of the State.

Mahine ROUHI – TAMIS
2012-2013 / 16 mm / B&W / sil / 9′ 00
A hand-painted film made using a big sheet to protect the table, some stones, a buzzard’s feather, blades of grass and a variety of foliage – Chinese ink – to dip, to paint, to scratch, remove, to over paint again and left to dry. The film was then printed and modified with an optical printer during a residency in Mire’s laboratory.

Carole THIBAUD – VIRÉES (TRIPS)
2012 / 16mm / colour & B&W / Silent / 12’00
A solitary contemplation on the road in a Peugeot 305 station wagon armed with a Bolex. Technical and camera mounting tests and location research for a documentary road-movie « Space Wagon ». (Space Wagon’s research project page – fr)

Program 2 : Curatorial Program : presented by Miles McKane

Screening films and creating programs has been the backbone of Mire since its creation, over twenty years ago. Never content to just show films in a cinema, Mire questioned the relationship to the space and context of screenings, as well as the interaction with other experimental forms of creation. Mire has no fixed screening place and has been more or less nomad for most of its existence, screening in boat building sheds, museums, car repair garages, construction sites etc. Which also lead us to reconsider the nature of the audience, how it receives and responses to the films in these non-theatrical spaces.
This program reflects different recurring themes and obsessions that run through the history of Mire, the hands on processes, the material aspect of film, the manipulation of time, the relation with experimental music- and silence, and nature – human and botanic.
Each film in the program is preceded by a home movie made at the different events of Mire, complementing the artists’ films, which have all been screened by Mire and hold a special significant place in our history.

Rohfilm - Birgit & Wilhelm HeinTEACHING THE ALPHABET de Volker SCHREINERALL OVER  - Emmanuel LEFRANTCOLOUR SEPARATION de Chris WELSBYSUNSET BOULEVARD - Thomas KORSCHIL

MIRE’S HOME MOVIES
2007- 2013 / Super8 > Fichier num / colour / sil

Volker SCHREINER – TEACHING THE ALPAHBET
2007 / Beta SP / col-b&w / sound / 3′ 34
With TEACHING THE ALPAHBET Volker Schreiner presents a monumental tribute to the mainstream cinema of all times. He not only pays homage through a precise selection of clips from Hollywood greats that demonstrates an incredible knowledge of the subject, but also by linking the footage in a series of surprising, logical connections. Through the device of teaching the alphabet, with associations of letters and objects or concepts, Schreiner actively involves the spectator in a guessing game of images with missing data and unspoken words. Connections that at times are obvious and at others more obscure, Schreiner offers us an ingenious subconscious lesson on the history of cinema.

Johann LURF – 12 EXPLOSIONEN
2008 / Beta SP / col / sound / 6′ 00
12 Explosionen shows a series of tableaux filmed in Vienna at night. The locations selected resemble crime scenes. These places are virtually waiting for something to happen. And because of the film’s title we know that something will.
12 Explosionen is a subtle study of perception by a filmmaker with a sense of humour, precisely crafted and nothing like it has been seen before. This is what experimental film should be like. Maya McKechneay

 Emmanuel LEFRANT – ALL OVER 
2001 / 16 mm / col / sound / 5’00
The black leader can be anticipated as Malevitch’s white painting: a space in which everything is possible, the space of absolute potentiality. This is not about covering a blank surface with forms and colours since they already exist in the black film. All Over is a film made without “instrumentation” the film remains untouched by any tool (not even the hand). Materials and colour are spontaneously laid down on the film in semi-controlled gestures, which create a shower of coloured dots. The soundtrack functions according to the same principle.

Chris WELSBY COLOUR SEPARATION
1974-1976 / 16 mm / col / sil / 2′ 30
This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour.
When projected the film resembles a moving impressionist painting in which time is seen to participate in the construction of the colour image.

John NATHAN – LI: THE PATTERNS OF NATURE
2007 / 16 mm / col / sound / 9′ 07
LI is a Chinese word that refers to the underlying intelligence and order of nature as reflected in its organic forms.
Through the use of special cinematographic techniques, including time-lapse and microscopy, the film highlights instances of LI patterning in the natural world, interweaving spatial and temporal rhythms from natural textures and the cycles of birth and decay, night and day, and the seasons.

Stan BRAKHAGE – STAR GARDEN
1974 / 16 mm / col / sil / 20′ 00
Star Garden simply depicts as Brancusi put it: “One of those days I would not trade for anything under heaven.”
The “STAR,” as it is singular, is the sun; and it is metaphoric, at the beginning of this film, to the projector anyone uses to show forth. Then the imaginary sun begins its course throughout whatever darkened room this film is seen within.

Wilhelm & Birgit HEIN – ROHFILM
1968 / B&W / sound / 16mm / 20’00
The film image is ‘disrupted’ in different ways: traces of dirt, frame lines or perforation holes appear in the picture, at other points the image freezes or melts. The result was put through a projector—during which pieces of the film also burnt—and refilmed from the screen. Positive and negative images are used. Since the original material was chosen at random and taken from existing 8mm and 16mm films, the image sizes are sometimes parallel, sometimes alternate. The velocity of the editing rhythm and mounting signal noise reinforce a ‘rawness’ directed persistently against narration.

Thomas KORSCHIL – SUNSET BOULEVARD
1991 / 16 mm / col / sil / 8′ 00
“Makes me want to film cars again.” – Ernie Gehr
Sunset Boulevard might be seen as the attempt to simultaneously picture the two big, contradictory myths of U.S. of America: the myth of unlimited individualism, and the myth of the ominous “melting pot.”
Sunset Boulevard uses a simple serial method, by which a busy road becomes a merry-go-round of isolation; a series of faces, each appearing for a fraction of a second from out of the endless stream of traffic; people, alone in their vehicles, which shimmer red and blue in the sun, mere fleeting phantoms in the film material. Stefan Grisseman

Mire thanks filmmakers and the Exis team for their help and support in the making of theses programs.
Theses programs benefit of the support of :
BLOC_LOGOS_IF+NANTES

 

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