|EAI & Y-3 PRESENT ART IN MOTION
Public Video Art Screenings in Miami's Design District
December 5 - 8, 2007
Reception for the artists:
Saturday, December 8, 2007, 8-10 pm
150 NE 40th Street
Design District, Miami, Florida
Thierry Kuntzel was an internationally known film theorist before he started making eloquent videos and installations. Based primarily in Paris, with several years spent in Berkeley, California, he was preoccupied with time and memory, and with what happens beneath the surface of representation, beyond a narrative story line. In the late 1970s he wrote regularly for Camera Obscura and Film Quarterly Journal and explored the strong subliminal hold of films like The Most Dangerous Game (1932) and King Kong (1933). Absorbed in the work of experimental filmmakers, Kuntzel meticulously analyzed six pivotal frames of Chris Marker's landmark La Jetée (1963) to examine the effect upon viewers of recurrent, highly charged visual images accompanied by forceful, repetitive sound effects.
La peinture cubiste, 1981, 49 min. (France)
Directed by Thierry Kuntzel and Philippe Grandrieux.
Monday, September 24, 2007, 6:00 p.m., Theater 2, T2
Saturday, October 13, 2007, 2:00 p.m., Theater 2, T2
Produced for Regards Entendus, a French television series about painting and analysis, this video draws from Jean Paulhan's essay "Petit Aventure Nocturne," in which Paulhan describes the moment when he "walked through a Cubist painting"-he entered his living room and was temporarily blinded by bright sunlight, so much so that he had to struggle to find the space he knew so well. Shot in both film and video, the work is an aggressive dialogue between the sharply defined space of cinema and the indistinct, almost fluid realm of video. By describing something specific to painting, both "Petit Aventure Nocturne" and La peinture cubiste provide an insight into the artistic definitions of Paulhan's, and Kuntzel and Grandrieux's, own forms. Courtesy of Electronic Arts Intermix, New York.
The Most Dangerous Game, 1932, 63 min. (USA)
Directed by Irving Pichel and Ernest B. Schoedsack. Screenplay by James Creelman, based on the short story by Richard Connell. With Joel McCrea, Leslie Banks.
Monday, September 24, 2007, 7:15 p.m., Theater 2, T2
Saturday, October 13, 2007, 5:30 p.m., Theater 2, T2
An adaptation of Connell's 1924 short story, the film concerns a big-game hunter who hunts humans for sport on an island. McCrea plays Robert Rainsford, a man shipwrecked on the island, and Banks portrays Count Zaroff, the hunter. Shot mostly at night, the film used the same sets that were being used for the Skull Island sequences of King Kong, and also stars Kong costars Fay Wray and Robert Armstrong.
King Kong, 1933, 100 min. (USA)
Directed by Ernest B. Schoedsack and Merian C. Cooper.
Monday, September 24, 2007, 8:30 p.m., Theater 2, T2
Saturday, October 13, 2007, 3:15 p.m., Theater 2, T2
King Kong is more than a monster movie. The film's unique quality lies in the scope of its own absurdity, coupled with a subconscious but nevertheless irrefutable eroticism. Kong's logic is that of a dream, with visualization drawn from the tradition of legends and illustrated myths.
La Jetée, 1962, 28 min. (France)
Directed by Chris Marker.
Wavelength. 1967, 45 min. (USA)
Directed by Michael Snow.
Friday, September 28, 2007, 8:00 p.m., Theater 2, T2
Saturday, October 13, 2007, 7:00 p.m., Theater 2, T2
A story of memory, La Jetée is set in Paris, where a young boy observes a beautiful woman at an airport, and then sees a man die of a gunshot wound from an unknown assailant. Many years later, following an apocalyptic disaster that has driven a decimated mankind into underground bunkers, the boyónow an adultóis afflicted so strongly by his memory of the beautiful woman that government scientists wish to use it as a means for time travel, with the hope of finding a key to restoring the world to its former condition. The ultimate visual essay, the film is an epic novel told using the most minimal and constrained number of images.
In Wavelength, a camera zoom slowly edges forward, eliminating more and more of the space of an eighty-foot loft, until it ends by framing a photograph of waves on the opposite wall. Throughout the course of the film, an accompanying sine-wave signal becomes higher and more piercing. Since 1956, Snow has been at the forefront in utilizing moving image technologies as a means of artistic expression by creating major works of structural cinema. He helped to define and chart new territory with respect to camera movements, sound and image relationships, and temporal and spatial dimensions while creating astonishing works of lasting impact and artistic value.
Organized by Barbara London, Associate Curator, Department of Media, MoMA.
About Thierry Kuntzel
Thierry Kuntzel was born in Bergerac, France, in 1948. His philosophy, linguistics and semiology studies led to his thesis, supervised by Roland Barthes, on "Travail du film/travail du rÍve" ("Film-work/Dream-work") and to write several important texts on film theory and analysis. From 1972 to 1989 he worked at the Research Service of the O.R.T.F, then at I.N.A, training and research. He taught semiology of cinema and textual analysis of film at universities in Paris and the U.S. At the end of the 1980s he devoted himself entirely to artistic creation. He produced a series of video works between 1979 and 1980, after which he focused on installations that involve the projection of images, light and sound. These installations have been exhibited in venues such as The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Galerie Yvon Lambert, Paris; Le Frenoy, Studio National des art contemporains, France, among many others. Kuntzel lived and worked in Paris. He died in 2007.
Founded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art and interactive media. EAI's core program is the international distribution of a major collection of new and historical media works by artists. EAI's activities include a preservation program, viewing access, educational services, online resources, and public programs such as exhibitions and lectures. The Online Catalogue provides a comprehensive resource on the 175 artists and 3,000 works in the EAI collection, including extensive research materials. www.eai.org
Please visit EAI's new project, The Online Resource Guide for Exhibiting, Collecting & Preserving Media Art, a comprehensive source for information on single-channel video, computer-based art, and media installation: http://resourceguide.eai.org
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