Cinema Revisited

Fani ZGURO: Broken Threads | Video | dv | s/w | 07:15 | Albania 2007
Maia PEDRO: Arise (Zona) | exp. film | 35mm | color | 10:00 | Portugal 2009
Vivian OSTROVSKY: The Title Was Shot | exp. video | dv | 09:00 | France/USA 2009
Bob PARIS: Shadow of a Doubt | exp. film | dv | b/w | 06:10 | USA 2009
Volker SCHREINER: Grid | exp. film | betaSP | b/w | 05:32 | Germany 2009
Eli CORTIÑAS HIDALGO: FIN | Video | dv | color | 04:00 | Spain/Germany 1976
Karel DE COCK: Unheard Silence | Video | betaSP | b/w | 04:30 | Belgium 2009
Jean-Jacques PALIX: Ce disque est le même que l'autre | Video | dv | color | 09:00 | France 2009
Antoni PINENT: Film Quartet / Polyframe | exp. film | 35mm | color + b/w | 09:00 | Spain 2008
Marco BRAMBILLA: Civilization (MEGAPLEX) | Video | dv | color | 03:22 | Italy 2008

Fani ZGURO manipules a film noir shot in Albania in the ’70 and transforms it into its own film trailer, using a song by Nick Cave and the Bad Seeds as the soundtrack. Maia PEDRO uses the film « A Zona » by Sandro Aguilar as a spring board, and exposes the defaults inherent to film. These images drive us to a state of indetermination, in which the narrative and temporal logics are forgotten. Vivian OSTROVSKY directs a cinephile farce, by showing fragments of more than 25 films, from the 20’s to the 90’s, with cowboys, indians, and damsels in distress. Quotes by Wittgenstein, Gilles Deleuze and Slavoj Zizek punctuate the ensemble. Bob PARIS reworks « Shadow of a Doubt » by Alfred Hitchcock. Volker SCHREINER uses signs of emptiness as a motive. Eli CORTIÑAS HIDALGO stretches an end scene into infinity. Karel DE COCK proposes a meditation on female representation in western films, by reworking a scene from “The Searchers” de John Ford. On a split-screen Jean-Jacques PALIX combines rushes of feature films representing record players or DJs. A film mixing a film, the soundtrack consists of sound clips from the original rushes. Antoni PINENT directs a cinematographic piece which questions the definition of the frame as a minimal unit of cinematographic time, and breaks it up into four fragments. He revisits extracts from avant-guard and experimental Hollywood films. A balance of images is conserved, while still offering an analysis of the history of cinema. Cinema in a state of reinvention, destruction and explosion