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.
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.
