Cineclube EA: Overcoming the Forms of the Outer World

Ciclo

Contacts

Cineclube 2022-23

equipa do Cineclube EA
2020/21

Benjamim Gomes
Diogo Pinto
Francisca Dores
João Pinto
Leonardo Polita
Luísa Alegre
Luiz Manso
Maria Miguel
Mariana Machado
Miguel Ribeiro
Miguel Mesquita

 

com o apoio de
Carlos Natálio

More Information

06 Jun at 18:30

An Industry and Its Irreplaceable Medium
by Zachary Formwalt 

South-Korea, 2022, HD video projection, 21'

Reproductive Exile
by Lucy Beech

2018-2023, 4K video, 30'

For a Life Long Disease of Copper
by Alice dos Reis

2021

Sight Leak
by Peng Zuqiang

2022

Qualities of Life: Living in the Radiant Cold 
by James Richards

USA, 2022

 

session synopsis:
Fluids and capital flow. Images and liquids leak. Meaning slips amidst all sorts of bubbling up. Reproduction -- or its denial -- as a process cascades across image, capital, labor, ideology, human, and animal. The first program in the series is sensorial and bodily, yet deeply engaged with the social structures and social relations drawn both from history and projected into speculative futures. The body and the image are deeply entangled -- from the material basis to the (shifting sexual) politics of the gaze. It is worth remembering that one of the earliest prototypically modern spaces of (visual) spectacle was the operating and dissecting theatre.

 

 

13 Jun at 18:30

Grains of Truth a chapter from ADINA 
by Emilia Tapprest

(NVISIBLE.STUDIO)

Earthquakes
by Maya Watanabe

2017

VUCCA 
by Carlos Casas

2016

Aphotic Zone
by Emilija Škarnulytė
2022

The Unmanned - 1953 - The Outlawed 
by Fabien Giraud & Raphaël Siboni

2018

nimiia cétiï
by Jenna Sutela

2018

Black Cloud 黑云 
by Lawrence Lek

2021

 

session synopsis:
In T. S. Eliot’s poem Burnt Norton a bird says human kind / Cannot bear very much reality
To shore itself up under the weight of the world, the human mind has divised diverse means — from myth to mathematics — of mediating its encounters, altering and spawning material and immaterial agencies in the process.
Film also traffics in this trade of mediation.
The task to tease apart what is signal from what is noise, what is perceived from what is projected, and what is inherent from what is constructed may at times seem like a fool’s errand.
Yet — in a situation where an audience allows their senses to be tricked — the cinema is precisely the place for such a meditation.
In this film program, mind flows into other vessels, depths are plumbed, and a sea of agencies within and without — both alien and familiar, if oft forgotten — subsumes spectators.

 

 

20 Jun at 18:30

Shokouk
by Pejvak (Rouzbeh Akhbari and Felix Kalmenson)

2022

Black Beauty (one channel) 
by Grace Ndiritu

2021

La cabeza mató a todos 
by Beatriz Santiago Muñoz

2014

Taxonomic Ambiguity
by Juan Arturo García

2022

You May Own the Lanterns, but We Have the Light (Pt. I Home Alone)
by Haig Aivazian

2022

 

session synopsis:
In the dance of flickering light and play of shadow, time twists and turns.
Darkened spaces, from ancient caves to the cinema, and image-conjuring devices, from the Phantasmagoria’s magic lantern to the television, allow for time and space to be folded, shuffled, and cut into novel configurations.
Chronologies crumble and the boundaries between the living and the dead blur.
And yet the new arrangement seems perfectly plausible.
Control of the reality effects of cinema, and media more broadly, goes hand in hand with control of the very ground of history and knowledge — an ongoing battle, playing out for millennia.
What other grounds besides the crumbling ground of modernity are possible? What is the topography of Hauntological time? These films may be maps; despite a film's apparent linearity, it intricately weaves time into a network.

06 Jun a 20 Jun às 18:30 
Auditório Ilídio Pinho   

Overcoming the forms of the outer world
This program eschews an overarching theme for a constellation of extrapolated, imagined lines between. Spread over three consecutive evenings, the films in this program carry forth a cascade of concepts and meanders among motifs.
On the whole, the films privilege perception, sensation, and encounter sometimes grounded in narrative but just as often not. While not intended as a survey, a broad range of artist moving image practices are represented, from animation to speculative documentary.
How the images in these films come into existence often matters as much as what they show.

Scales shift, boundaries blur, forms fold, and sounds seep.
Anything living or nonliving, from plants to algorithms, may take up agency.
Permutations and interpenetrations of technology into the human, the landscape, and domains beyond the planet may at once alienate and produce an intimate proximity. In the depths — whether of sea, psyche, or spaces seemingly adjacent to intelligibility — encounters with concrete alterities intermingle with the projections of dreams.
History hails with its heavy burden and the future harkens in a pull and push that is as much internal as external. The present seems somewhere suspended in a looping ennui and the perpetual, yearning possibility for another kind of world if not tonight, then tomorrow.

Film program with selections by Matthew C. Wilson, artist in residence at the School of Arts in 2023, made in partnership with the Porto city council InResidence program.

Contacts

Cineclube 2022-23

equipa do Cineclube EA
2020/21

Benjamim Gomes
Diogo Pinto
Francisca Dores
João Pinto
Leonardo Polita
Luísa Alegre
Luiz Manso
Maria Miguel
Mariana Machado
Miguel Ribeiro
Miguel Mesquita

 

com o apoio de
Carlos Natálio

More Information

06 Jun at 18:30

An Industry and Its Irreplaceable Medium
by Zachary Formwalt 

South-Korea, 2022, HD video projection, 21'

Reproductive Exile
by Lucy Beech

2018-2023, 4K video, 30'

For a Life Long Disease of Copper
by Alice dos Reis

2021

Sight Leak
by Peng Zuqiang

2022

Qualities of Life: Living in the Radiant Cold 
by James Richards

USA, 2022

 

session synopsis:
Fluids and capital flow. Images and liquids leak. Meaning slips amidst all sorts of bubbling up. Reproduction -- or its denial -- as a process cascades across image, capital, labor, ideology, human, and animal. The first program in the series is sensorial and bodily, yet deeply engaged with the social structures and social relations drawn both from history and projected into speculative futures. The body and the image are deeply entangled -- from the material basis to the (shifting sexual) politics of the gaze. It is worth remembering that one of the earliest prototypically modern spaces of (visual) spectacle was the operating and dissecting theatre.

 

 

13 Jun at 18:30

Grains of Truth a chapter from ADINA 
by Emilia Tapprest

(NVISIBLE.STUDIO)

Earthquakes
by Maya Watanabe

2017

VUCCA 
by Carlos Casas

2016

Aphotic Zone
by Emilija Škarnulytė
2022

The Unmanned - 1953 - The Outlawed 
by Fabien Giraud & Raphaël Siboni

2018

nimiia cétiï
by Jenna Sutela

2018

Black Cloud 黑云 
by Lawrence Lek

2021

 

session synopsis:
In T. S. Eliot’s poem Burnt Norton a bird says human kind / Cannot bear very much reality
To shore itself up under the weight of the world, the human mind has divised diverse means — from myth to mathematics — of mediating its encounters, altering and spawning material and immaterial agencies in the process.
Film also traffics in this trade of mediation.
The task to tease apart what is signal from what is noise, what is perceived from what is projected, and what is inherent from what is constructed may at times seem like a fool’s errand.
Yet — in a situation where an audience allows their senses to be tricked — the cinema is precisely the place for such a meditation.
In this film program, mind flows into other vessels, depths are plumbed, and a sea of agencies within and without — both alien and familiar, if oft forgotten — subsumes spectators.

 

 

20 Jun at 18:30

Shokouk
by Pejvak (Rouzbeh Akhbari and Felix Kalmenson)

2022

Black Beauty (one channel) 
by Grace Ndiritu

2021

La cabeza mató a todos 
by Beatriz Santiago Muñoz

2014

Taxonomic Ambiguity
by Juan Arturo García

2022

You May Own the Lanterns, but We Have the Light (Pt. I Home Alone)
by Haig Aivazian

2022

 

session synopsis:
In the dance of flickering light and play of shadow, time twists and turns.
Darkened spaces, from ancient caves to the cinema, and image-conjuring devices, from the Phantasmagoria’s magic lantern to the television, allow for time and space to be folded, shuffled, and cut into novel configurations.
Chronologies crumble and the boundaries between the living and the dead blur.
And yet the new arrangement seems perfectly plausible.
Control of the reality effects of cinema, and media more broadly, goes hand in hand with control of the very ground of history and knowledge — an ongoing battle, playing out for millennia.
What other grounds besides the crumbling ground of modernity are possible? What is the topography of Hauntological time? These films may be maps; despite a film's apparent linearity, it intricately weaves time into a network.

Contacts

Cineclube 2022-23

equipa do Cineclube EA
2020/21

Benjamim Gomes
Diogo Pinto
Francisca Dores
João Pinto
Leonardo Polita
Luísa Alegre
Luiz Manso
Maria Miguel
Mariana Machado
Miguel Ribeiro
Miguel Mesquita

 

com o apoio de
Carlos Natálio

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Agenda

Mar

18
3ª Sessão – Ciclo Interseção com uma Alteridade
Cineclube EA

Auditório Ilídio Pinho

Portugal
  • Film Club
  • Cinema
  • Homepage
25
4ª Sessão – Ciclo Interseção com uma Alteridade
Cineclube EA

Auditório Ilídio Pinho

Portugal
  • Film Club
  • Cinema
  • Homepage