Mire invites you dive into the international waters of the effervescent world of analogue film, which is more alive than ever.
It’s as much a summer camp as a summer school and this event brings together almost 50 labs, coming from 5 continents, for a week of exchange and discussions about the state of the art of film.
And as we like sharing, the Bains Argentiques will be open to the public each evening of the week and the weekend.
PASS : If you plan to come to screenings and performances, it could be a good idea to book a PASS Bains Argentiques.
~ ~ ~ Tuesday 5 Juillet ~ ~ ~
Projection | Curated by Scott Fitzpatrick (Ca)
18:00 & 20:45 | Cinéma Le Concorde | 3€ – 5€
A survey of films exploring modes of production outside traditional photochemical processes : 3D-printing, inkjet-printing, laser-printing, laser-engraving, tape-lifting, temporary-tattooing and meticulous recycling are all employed to create 13 short films engaged with materiality and technology, and the chemicals we do or do not depend on to make film in 2016.
Bruce’s Borders ~ Scott Fitzpatrick, Canada, 2013, 16mm, b&w, sound, 07’30
A physical adaptation of Victorian Frames, Borders and Cuts, published by the Dover Pictorial Archive; a study in embellishment from the 1882 type catalog of George Bruce’s Son and Company.
Regal ~ Karissa Hahn, USA, 2015, 16mm, color, sound, 02’00
// torrented/pirated (digital) images as found footage // printed from a household printer onto 16mm clear film //
“The poor image is no longer about the real thing—the originary original. Instead, it is about its own real conditions of existence: about swarm circulation, digital dispersion, fractured and flexible temporalities. It is about defiance and appropriation just as it is about conformism and exploitation:”Hito Steyerl
Inkjet 3056A ~ Karissa Hahn, USA, 2014, 16mm, color , silent, 05’10
A cinegel swatchbook is scanned onto clear leader using an HP Deskjet printer. A rhythmic exploration of pure color traveling through a digital space. Color information is translated into beams of Red, Green, & Blue.
Tattoo Step ~ Mike Maryniuk, Canada, 2008, 35mm, color, sound, 01’11
Made with nothing but thousands of temporary tattoos and a strip of 35mm leader. A tip of the hat to Stan Brakhage’s Moth Light. Temporary Tattoos applied to 35mm for eternity.
TRiplete PLástico ~ Ignacio Tamarit, Argentina, 2015, 16mm > DCP, color, silent, 02’00
This film is like the work of an architect building a building block, by splicing small blocks of frames, looking to collide with one another and form new images. At the same time, this film is an apology to the act of splicing, the aesthetics of the joint. Enjoy the splice of life!
A Return to The Return to Reason ~ Sabine Gruffat, USA, 2014, laser etched 35mm<DCP, b&w, silent, 02’56
A scratch film for the 21st Century where 35mm black leader is meticulously etched frame by frame using a digital laser cutter (a machine designed for precision carpentry). A Return to The Return to Reason is a conceptual and materialist tribute to Man Ray’s 1923 film Le Retour à La Raison, the first film to use the ‘Rayograph’ technique in which Man Ray exposed found objects onto film negative.
Quimtai ~ Camilo Colmenares, Germany, 2015, 35mm > DCP, b&w, sound, 06’00
“Quimtai” is an experimental animation based upon pre-colombian patterns of the now extinct Tairona and Quimbaya indigenous cultures of Colombia and was inspired by the German absolute cinema of the 1920s. The animation was laser engraved directly onto 35mm black leader film as part of an elaborated technical manufacturing process.
Pixel Jungle ~ Klara Ravat, Germany, 2015, 16mm, color, silent, 03’26
35mm shots of Madrid are digitally expanded and rearranged to emulate the sensations of another city: Barcelona.
filament studies ~ Libi Rose Striegl, USA, 2014, 16mm > DCP, color, silent, 02’43
An ode to tech-nostalgia and experimental processes of all sorts. A love song to the changing nature of the hand-made.
16mm film was modeled and 3D printed in various colors and at various thicknesses. That 16mm film was then run through an optical printer and photographed for animation.
Scene Missing ~ Rhayne Vermette, Canada, 2014, 16mm > DCP, color, son, 00’50
Rhayne Vermette demonstrates that sadness can be grafted on the reel. Watch out! Even if you turn off the sound, it will prove to you that sadness is boundless.
Black Rectangle ~ Rhayne Vermette, Canada, 2013, 16mm > DCP, color, sound, 01’30
“Time has not been kind to Kasimir Malevich’s painting, Black Square. In 1915 when the work was first displayed the surface of the square was pristine and pure; now the black paint has cracked revealing the white ground like mortar in crazy paving.”
Screen test 1 (self portrait) ~ Scott Fitzpatrick, Canada, 2015, 16mm, color, sound, 02’50
Screen Test 1 (Self-Portrait) was laser-printed onto recycled 16mm film in 2015.
Dingbats revenge ~ Scott Fitzpatrick, Canada, 2015, 16mm > DCP, color, sound, 07’00
Can an experimental animator follow contemporary Hollywood logic? New ideas are out of fashion; everything’s a trilogy. Dingbat’s Revenge is a coded, stroboscopic manifesto pitched somewhere between abstraction and representation.
Projection | Curated by Kim Knowles (Uk)
19:15 ♦ & 22:15 | Cinéma Le Concorde | 3€ – 5€
Works that engage the theme of corporeality. The human body and the body of the film, their shared materiality that produce new understandings.
Loretta ~ Jeanne Liotta, USA, 2003, 16mm, color, sound, 04’00
Using the rayogram technique, Liotta transferred photographs of a female figure onto the surface of the filmstrip, exposing it with a flashlight.
Push, Pull, Recover ~ Terra Jean Long, Cuba/Canada, 2014, 16mm < DCP, color, sil, 04’00
Animated meditation on motion through stillness with breath, shot in single frames on 16mm film and then hand-painted.
Priya ~ Alia Syed, UK, 2012, 16mm, color, silent, 13’00
Strips of film featuring images of a north Indian classical dancer were buried in the filmmaker’s garden for varying lengths of time then edited together to reveal the gradual deterioration of the film material. The biochemical breakdown creates a dialogue between surface and depth, figure and ground.
sobbingspittingscratching ~ Vicky Smith, UK, 2011, 16mm, color, sil, 04’00
Smith uses bodily fluids such as spit and tears as the material basis for the film’s imagery, interspersed with animated scratches on the surface of the celluloid. Enlarged on the screen, these internal fluids resemble scientific microscopic images that bring us into an uncanny physical proximity with the artist’s body.
Intimacy is Hair in the Drain ~ Hanna Chetwin, Australia, 2015, 16mm, col, sound, 08’00
An intensely personal film that offers a voyeuristic glimpse into cohabitation. Strands of hair are rayogrammed directly onto the film, providing a curtain behind which scenes of domestic intimacy play out.
Blutrausch (Bloodlust) ~ Thorsten Fleisch, Germany, 1998, 16mm, color, sound, 04’00
Fleisch’s meditation on the relationship between film and the body begins with him creating cuts in his own skin and pressing clear leader into the wounds. Additional blood was dripped onto the film with a syringe. The blood creates the optical soundtrack, which immerses the spectator in the flow of bodily secretions.
Mue(s) ~ Frédérique Menant, 2015, 16mm
The result of a collaboration with the artist Nathalie Menant, the film documents with subtlety and sensitivity the bodies of ten different women. The process of creating casts from the bodies is mirrored in the chemical interventions on the filmstrip.
Hold Me ~ Sook Hyun Kim & Hye Jeong Cho, Korea, 2013, 16mm > DCP, col, sil, 08’00
In an empty warehouse, the expressive movements of a dancer tell an emotional story. Attention shifts between image and process, interrupting the flow of movement and foregrounding the physical exchange between one body and another.
Orange Trill ~ G. Anthony Svatek, Austria, USA, 2015, 16mm > DCP, color, sound, 05’00
Hand-processed 16mm film and the electronic flicker of an old computer monitor create a cine-dance in which the performance challenges the film to match its moves.
Dream Enclosure ~ Sandy Ding, 2012-2014, China, 2012-2014, 16mm > DCP, b&w, sound, 19’00
Ding shot the film on expired military 16mm stock and, in the absence of an optical printer in China, developed his own digital software to mimic analogue technology.
♦ Programs presented by the curator
* Reduced Rate reserved for students, unemployed, Mire members
Evenings and week-end detailed program
With the support of our financial and media partners :