The Live Record, BFI Southbank, 6 December 2008.
Expanded Cinema is a transitory and unpredictable art-form. The live act of projection activates the space in front of the screen and explodes the relationship between the audience and the film. This AHRC Central Saint Martins supported a day of screenings, performances and talks, illuminated the rich history of Expanded Cinema and explored and questioned the tensions that exist between the live event and its record. Performers and speakers included Duncan White, William Raban, Malcolm Le Grice, Guy Sherwin and Maxa Zoller.
Download the original brochure here.
Talks:
Duncan White: ‘Expanded Cinema: the Live Record’.
Maxa Zoller: ‘Simply Press PLAY: documenting film art today’.
Lynn Loo: ‘On Guy Sherwin’s Expanded Cinema’.
Malcolm Le Grice: ‘Time and the Spectator in the Experience of Expanded Cinema’.
Screenings:
Tony Sinden: Cinema of Projection (1975) 16mm, silent, 5 mins, on video (loop).
Time lapse record of the ICA Expanded Cinema Festival of 1975.
William Raban: Filmaktion / Walker Art Gallery (1973) 16mm, silent, 7 mins on video (loop).
Time lapse record of Raban, Nicolson, Le Grice, Eatherley, and others.
Guy Sherwin (live performance) Paper Landscape, 1975 – 2008, colour, silent, 8mm (8 mins).
Malcolm Le Grice (live performance): Self Portrait — After Raban Take Measure (2008), video (8.20 mins).
William Raban: Take Measure (1973 – 2008), 35 mm & live performance (30 sec).
Tony Sinden / David Hall: Between (1973), 16 mm, colour (15 mins).
Carolee Schneemann: Illinois Central Transposed (1968), 16 mm film on video, colour (4.30 mins).
Valie Export: Touch Cinema (1968), black & white (1.08 mins).
Morgan Fisher: Projection Instructions (1976), 16mm, black & white (4 mins).
(1968, 1.08 mins, b / w, sound)
Stephen Partridge: Monitor (1975), video (6 mins).
Mike Legget / Ian Breakwell: One (1971/2004), 16mm on video, black & white (12 mins).
Steve Farrer: London Filmmakers Co-op 100’ Film (1976), 16mm (4 mins).
Jeff Keen: The Pink Auto (1964), 8mm to DVD (8 mins extract).
William Raban: 4’22” (2008), live performance, 35mm, colour (4.22 mins).
Activating the Space of Reception, Tate Modern, 17-19 April 2009.
This conference investigated an expanding field of film and video art from multi-screen, immersive, performance-based live-projections through to interactive, digital and virtual reality multi-media events.
During the Conference, a videotheque was available containing documentation of over 70 classic expanded cinema works by more than 30 artists recorded at two recent Expanded Cinema events in Germany, made available to us courtesy of the artists and the Expanded Cinema Study Collection of Hartware MedienKunstVerein Dortmund and Württembergischer Kunstverein, Stuttgart, and with thanks to Mark Webber.
Talks:
Day One
Panel: ‘What is Expanded Cinema?’ Chair Stuart Comer, Tate.
Jonathan Walley: ‘Not an Image of the Death of Film: Contemporary Expanded Cinema and Experimental Film’.
Duncan White: ‘Narrative Exploration in Expanded Cinema’.
Mark Bartlett: ‘Expanded Cinema, Social Imaginistics, an the Fourth Avant-garde of Stan Vanderbeek’.
Panel” ‘Topologies of Expanded Cinema’. Chair Al Rees, RCA, London.
Chrissie Iles: ‘On expanded cinema and the moving image in the gallery in the 70s’.
Noam Elcott: ‘Rooms of our Times: László Moholy-Nagy and Cinema between Theatre and Museum’.
Cindy Keefer: ‘Raumlichtkunst to Vortex: Early Expanded Cinema Experiments of Oskar Fischinger and Jordan Belson (1926-1959)’.
Only available to watch on site.
Catherine Elwes: ‘The Domestic Spaces of Video Installation’.
Stephen Partridge in discussion with William Raban.
Day Two
Performance: ‘Body’. Chair Stephen Partridge, University of Dundee.
Liz Kotz: ‘Projecting Cinema Otherwise, via Judson Dance’.
Lucy Reynolds: ‘Magic Tricks? The Use of Shadow Play in British Expanded Cinema’.
Cecile Chich: ‘Beyond the Frame / Beyond the Gaze – The Multi-Media Projection Performances of Maria Klonaris and Katerina Thomadaki’.
Maxa Zoller: ‘Polish Expanded Cinema: technology and the body’.
Mike Leggett: ‘Private Performance and Video Art’.
Panel: ‘Media Environments and Expanded Cinema in the Digital Age’. Chair Professor Chris Meigh Andrews, University of Central Lancashire.
Chris Welsby: ‘Expanded Cinema: 20th Century Encounters with the Machine’.
Eugeni Bonet: ‘PLAT (Picto-Luminic-Audio-Tactile): The “overflowing” cinema of Val del Omar’.
Anja Gossens: ‘Future Shock and Time/Energy objects – Expanded Cinema and the Code in New York’.
Ji-Hoon Kim: ‘Interfacial Intermedia Art as Digitally Expanded Cinema: iCinema’s Transmedial Narrative Environments’.
Yvonne Spielmann: ‘Conceptual Synchronicity or intermedial encounters between film, video and computer’.
Malcom Le Grice in discussion with Maxa Zoller.
Day Three
Tony Sinden in dialogue with Anthony McCall.
Steve Farrer and Tina Keane in conversation with Chrissie Iles.
Q&A
Screenings:
Tony Hill: Point Source (1973), performance (6 mins).
Oskar Fischinger: R-1 ein Formspiel (1925-33), 7 mins.
Oskar Fischinger: Komposition in Blau (1935), 4 mins.
Charles Dockum: Demostration of Mobilcolor Projector and 1966 Mobilcolor Performance Film (1966), 7 mins.
Jordan Belson: Allures (1961), 8 mins.
John Stehura: Cibernetik 5.3 (1960-65), 7 mins.
Jud Yalkut: Turn, Turn, Turn (1966), 10 mins.
Stephen Partridge: MonitorLive! (1975), performance (6 mins).
Sandra Gibson & Luis Recoder: Untitled (2008), performance.
David Dye: Western Reversal (1973), 6 mins.
Annabel Nicolson: To the Dairy (1975), 4 mins.
Malcolm Le Grice: Yes No Maybe Maybe Not (1967), 8 mins.
Ron Haselden: Dialogue (with David Crosswaite) (1974), 10 mins.
Tony Sinden: Can Can (1975), 10 mins.
Steve Farrer: The Machine (1978-88), 6 mins.
Tamara Krikorian: Time Revealing Truth (1983).
Liz Rhodes: Light Music (1975).
Expanded Cinema: History, Society, Technology, Central Saint Martin’s College of Art and Design, 22 April 2009.
Download the original schedule and abstracts here.
Talks:
David Erol Fresko Jnr: ‘Multiple-Image Composition in the Age Before Griffith’.
Chris Sams: ‘Stanley Kubrick: Towards and Expanded Archive’.
Rebecca Ross: ‘All Above: Henri Giffard’s Ballon Captif at the 1867 Exposition d’Universelle’.
Adam Kossoff: ‘Expanded Cinema: Spatialising Time and the Aesthetics of Technics’.
Lawrence Daressa: ‘Expanded Cinema as “Social Change Media”: California Newsreel since 1968’.
Lauren A. Wright: ‘Present: Spectatorship in Expanded Cinema, the 1960s and Today’.
William Raban ‘Structural Film: Expanded Cinema and Reflexivity’.
Screenings:
A programme of Australian film video and multi-projection curated by Sue K.