The Film Gallery
As part of the Art-o-rama fair, The Film Gallery and Re:Voir present:
- – A program of Fluxus films on Friday, September 1 at 4pm;
- – A discussion between Pip Chodorov, Josée Gensollen, Pascale Casagnau and Ben Russell on Friday, September 1 at 5:30pm;
- – Carte blanche to Le Labo L’argent collective for a performance of expanded cinema on Sunday, September 3 at 2pm.
Friday, September 1st
2pm-7pm
Entrance To Exit
A program of Fluxus films presented by Re:Voir and The Film Gallery
On a loop from 2 pm to 5:30 pm
“An essential part of the Fluxus spirit is that of the Jeu, the permanent party which, more often than not, aims to promote imposture as an aesthetic dimension. For George Maciunas, Fluxus is fundamentally opposed to an idea of art that appears complex, pretentious, profound, serious, intellectual, inspired, skilful, educated, intelligent and significant – in other words, with all the romantic and demiurgic characteristics. Above all, it’s an “art-game” that aims to be simple, fun, unpretentious and interested in things that are a priori insignificant, requiring neither special skill nor tedious preparation. It favors lightness devoid of sentimentality, and considers the mono-structural, non-theatrical properties of a simple natural fact, game or gag. Starting from the premise that art’s primary function is to entertain, Fluxus relegates art history to the background, forgetting all too quickly that its roots lie in “Dada”.»
Maeva Aubert, in Flux Film Anthology, éd.DVD Re:Voir video.
1. George Maciunas, End After 9, 1966, b&w, silent, 1min
2. Chieko Shiomi, Disappearing Music for Face, 1966 b&w, silent, 11’15’’
3. George Landow, The Evil Faerie, 0’28’’
4. Albert Fine, Dance, 1963, b&w, silent, 2’40’’
5. Yoko Ono, Eye Blink,1966 b&w, silent, 0’15’’
6. John Cale, Police Car, b&w, silent 1’17’’
7. Erik Andersen, Opus 74 version2, 1966, color, silent, 1’35’’
8. Robert Watts, Trace n°24, 1965, b&w, silent, 1’20’’
9. Paul Sharits, Word Movie, 1966, b&w and color, sound, 3’50’’
10. George Maciunas, 10 feet, 1966, b&w, silent, 0’23’’
11. Ben, Faire un effort, 1969, color, silent 2’20’’
12. Jeff Perkins, Shout, 1966, b&w, silent, 2’10’’
13. Yoko Ono, One, 1966 b&w, silent, 5’
14. Paul Sharits, Dots 1&2, 1965, b&w, silent, 0’35’’
15. Peter Kenedy & Mike Parr, FluxFillm°36, 1970, b&w, sound, 2’40’’
16. George Brecht, Entrance to Exit, 1965, b&w, sound 7’
These screenings will be followed by a discussion from 5:30pm to 7pm with Pip Chodorov, Josée Gensollen, Pascale Casagnau and Ben Russell about the different economies of creation, production, distribution and conservation of experimental cinema versus those of artists’ films.
