This screening series was developed in the context of the exhibition Degrees of Remove: Landscape and Affect at SculptureCenter, on view through November 30. Degrees of Remove suggests the contemporary experience of landscape as increasingly mediated through documentation in urban societies. The works on view explore the representation of spatial constructs through fiction and affect, revealing how artists transpose spaces onto surfaces through various degrees of allegorical remove. Curated by Sarina Basta, Fionn Meade, and Anthology Film Archives.
PROGRAM 2: Landscape and Narrative – Monday, November 17 at 7:30pm
Focused on varying degrees of narrative’s tenuous relationship with landscape – from a totally constructed fiction to a non-linguistic approach – this selection explores the underlying ways we perceive and articulate the representation of space.
Walter De Maria: Hardcore (1969, 28 minutes, 16mm). Courtesy of the Whitney Museum of American Art, New York. Gift of Virginia Dwan.
Dominique Gonzalez-Foerster: Atomic Park (2004, 9 minutes, DVD)
Amy Granat Ann Craven: Moon Shadow, Part 1 (2008, 9 minutes, 16mm)
Gianni Motti: The Messenger (2003, 3 minutes, DVD)
Rosa Barba: They Shine (2007, 5 minutes, 35mm. Voice: Matt Didemus.)
Luis Buñuel: Land Without Bread / Las Hurdes (1932, 28 minutes, 35mm)
Total running time: ca. 85 minutes.
PROGRAM 3: Special Focus on the Work of Michael Snow – Sunday, November 23 at 8:30pm
Reverberlin (2006, 55 minutes, video)
Featuring Paul Dutton, John Oswald and Michael Snow.
Using concert footage of CCMC, the free improvisational ensemble Snow co-founded in 1974, the filmmaker/musician digitally weaves together images and sounds from performances that have taken place across the globe. “I desired an equivalence of seeing and hearing so that one could actually listen, pay attention to the music, as well as follow the picture development,” Snow writes.
PROGRAM 4: Special Focus on the Work of Michael Snow – Monday and Tuesday, November 24 25 at 7:30pm
La Région Centrale (1971, 180 minutes, 16mm)
Made over the course of five days on a deserted mountaintop in North Quebec, the vertical and horizontal alignment as well as the tracking speed of Snow’s equipment was all determined by the camera’s settings. Anchored to a tripod, the camera turned a complete 360 degrees, craned itself skyward, and circled in all directions. Because of the unconventional camera movement, the result was more than merely a document of the film location’s landscape, as its themes became the cosmic relationships of space and time.