SUNDAY NOVEMBER 6 TH
AT 5 PM
MILLENNIUM FILM WORKSHOP 66 E 4TH
ST. NYC
*CO-PRESENTED WITH MONO NO AWARE
DEBORAH PHILLIPS
(Berlin, GERMANY) GINA CARDUCCI (New York, USA)NAZLI
DINCEL (San Francisco, USA)
ALL THREE FILM MAKERS IN PERSON ! ALL WORK SHOWN ON FILM JOIN US FOR A
POST-SCREENING DISCUSSION
Deborah S Phillips has curated exhibitions as well as
numerous film programmes both in Germany and abroad. Her film works on 35mm,
16mm and Super 8mm have been screened as part of the Goethe Institut programme
"German Experimental Films of the 1990s" and all over the world;
including the Hong Kong International Festival, Toronto International FIlm
Festival. The films are distributed by LightCone (Paris) and Arsenal
Experimental (Berlin). She is on the board of kunstraum t27, an artists' run
gallery /space and currently resides in Berlin, Germany working as a translator
of art, architecture & film-related texts. This is Deborah's first visit to
New York in over 12 years, do not miss this opportunity to see her work and
meet her in person.
Gina Carducci is a contact printer by day and a
filmmaker by night. Gina's film, Stone Welcome Mat, premiered at the Venice Film
Festival. Generations, a collaboration with Barbara Hammer, premiered at MoMA
in 2010 and won the Teddy Award for Best Short Film at the Berlin Film
Festival. All That Sheltering Emptiness, a collaboration with Mattilda
Bernstein Sycamore,
was selected by invitation to International Film Festival Rotterdam 2011. Gina
is currently shooting The 16mm Seasonal Seriesto premiere in the fall of 2012.
As
always, all shot on the Bolex, hand-processed in the kitchen and edited on the
flatbed in Gina’s basement in Brooklyn. "Film is not dead." -G.C.
Nazlı
Dinçel has been influenced by Turkish, Swiss and American cultures. Her work
reflects her experiences of growing up between these locations. Dinçel
works with film to denote upon the body, gender, nature, immigration, and
dislocation in juxtaposition with their material: texture, color and the
sustainability of emulsion.
Nazli Dinçel is currently pursuing her MFA in film at the San Francisco
Art Institute. She received her BFA with Honors from UW-Milwaukee. She was
awarded a Kodak film grant in 2009. Her works have been exhibited in the USA at
the Minute Gallery, the Pink House, Center and the UWM Union Theatre.
PROGRAM: TRT Approx 55 minutes + post
screening discussion with the artists
NOOR by Deborah Philips (6 min, 16 mm, silent)
. Noor = light. Light & colour induce hope. This is composition
reacting to a whinging zeitgeist, threatened with the possibility of war. A
still-life in time, a means of having hope. The Allam house in Esfahan was
being renovated when we were there. It had been damaged during the Iran-Iraq
war. Other footage was shot (super 8), in Berlin and in the Polish countryside.
CAPSICUM by Deborah Philips (11 min, 16mm, sound)
. Music by Wolfgang in der Wiesche, sound collage by Ruth Wiesenfeld.
I
spent years as a girl fighting to be allowed to have a Bas Mitzvah and read
from the Torah, like the boys. I was given a portion containing four weird
lines about a perfect red heifer, out of context. I have, since then,
identified with this cow & I've thought about it while cooking, as an
architectural student and as a woman who prefers blue to red...
71 by Deborah Phillips, (7 min, 16mm, sound)
. Music by The Betel Nuts Brothers (Taiwan) and Urban Myth (UK).
71 is
guided by impressions and feelings of the artist during shooting: a feeling of
absurdity that comes when one travels to the back of beyond without ever
reaching anywhere.
HERMAN(N) by Deborah Phillips, (8 min, 16 mm, silent) NEW YORK
PREMIERE.
. Although this
part of Neukölln (a district in Berlin) has a reputation as a dangerous place,
I see it, through golden late summer light, as an inviting place. I have lived,
for 10 years, on a side street of the Hermannstraße, first on the one side,
then on the other. Gentrification has already commenced a few blocks north of
where I live: there's a gradual progression heading south on Hermannstraße;
closer to Hermannplatz, things get busier. North of the famous square is as
trendy as in many other parts of town now. This multimedia project (16mm film
and installation) is an attempt to make the very different segments of this
street palatable to viewers: it's not a matter of relaying a message, but more
a feeling of the place...
FONTANESTR by Deborah Phillips, (2 min, Super 8mm, silent) WORLD
PREMIERE.
. How I
cherished watching the goings on from the balcony of my former flat. When I
learned that I would have to move, I made this little film to record the
atmosphere...
DE LA JONCTION by Deborah Phillips (3 min, Super 8mm, sound) US
PREMIERE.
. In
collaboration with Marie Wilz- Brussels is a hard place to pin down. Its
neighborhoods are often very different. An installation collaboration, we tried
to capture some of the genus locii...
STONE WELCOME MAT by Gina Carducci, (6 min, 16mm, color,
silent).
. Stone Welcome Matexposes formal imperfections of film as a metaphor
for language and memory. Carducci discovers a new visual language as she weaves
together her grandfather?s 8mm Kodachrome home movie footage with her
hand-processed super-8 Ektachrome film shot 30 years later outside of his old
house in Pratola Peligna de l?Aquila, Italy.
LEAFLESS by Nazlı Dinçel (8min, 16mm, color, silent) NEW YORK
PREMIERE.
Leafless is an experiment of expansion in time, a hand
processed love poem of textures about becoming familiar with a significant
other’s body in reservation with its landscape.
“But the sun is also fierce; neither graceful athlete nor geometrician’s dummy
will embody Apollo, the idol of light.” -Kenneth Clark,
The Nude: a study in ideal form (1956)
My apologies for sending this out separately from the weekly listing.
Hope you can make it out.
Thank you.
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