ECRAN D'ART - A COLLABORATION WITH LA CAMBRE ACADEMY & CINEMA ARENBERG

The Ecran d’Art series is a monthly screening of artists’ film and/or
video jointly organised by argos and Cinema Arenberg

Passage Through: A ritual
Stan Brakhage

16 mm. | 00:46:00 | b&w
sound

Overall, Brakhage felt that soundstood in the way of the perceptual experience of his visual compositions. This is one of the rare films from his later period, in which he turns away from this idea. The film was edited on ‘Through the Mysterious Barricade, Lumen I (after F. Couperin)’ by Phillip Corner, a piece which was conceived asa musical response to Brakhage’s The Riddle of Lumen (1974). The black image is interrupted only sporadically by sparse flashes of colour and subject matter.

Epilogue
Michel Lorand

video | 00:08:55 | b&w
spoken | english

Épilogue constitutes the coda of the installation and film trilogy 3 Short Stories in which broken, impossible relationships make outthe subject matter of an enquiry into the relations between a literary text and the image. In Épilogue the off-screen voice mediates an inner reality. The image is white. A female character interprets an English text, the subtitles popping up on the rough film reel. Then silence, the void, blackness.

Le Visiteur Parfait
Joëlle Tuerlinckx
Willem Oorebeek

audio
sound
installation

Monodialogues (Monodialoge), sound installation, 2005
original exhibition material: "Le Visiteur Parfait", an exhibition by Joëlle Tuerlinckx (the Voice), performed by Willem Oorebeek (the Visitor), Kunsthalle Münster, 2005

Montag 54’16"
Dienstag 39’46"
Mittwoch 6’36"
Donnerstag 66’10"
Freitag 16’14" Samstag 28’35"
Sonntag 40’36"
"ambiance" 29’10"
"codes and positions" 46’50"

Stereoscopic equipment designed to be listened to, “pre-recorded and at a different time”, preferably opposite an open or closed window. A Franco-German dialogue stretched out over a week in seven periods, between a character (the Visitor) and a voice (the Voice).
“Images with an acoustic form, as a quantity of infinite events, so long-drawn-out that they end up in a fluidity that is not purely descriptive because it is made up of everything that happens. The stages of space, from close up to far away, from the serious to the insignificant, take shape in a strange `four-dimensional’ perspective. (…) Each instant seems like a corridor of reflection, listening, astonishment, distraction, surprise. (...) Unfettered, the real slides over a level, the layers of space and time are blurred on one and the same horizon with no breaks. Is it by reaching this kind of level that one finally manages to no longer avoid being there? The present, nothing but the present, without anything encroaching on itself. (...) full moments, welded in layers of disconcerting accolades: double glazing and a urinal and a postcard panorama, 17th, 18th and the railway line and Hamburg, and smoke and flags. Everything is there without invention, pure truthfulness of a disquieting present moment. Forms of transport pass, the sun, too, and the days as well, a general procession, marchpast of the congested humdrum. Is this what reality really is? There are things even more abyssal, the engulfment of the street in the place, trucks, vans and cars, construction site noises: cranes, boat horns, the sky, time, the velvety coating of rain, means of locomotion.”

This event is part of Black & White Outs, Monochromy and the Mental Image