October 27, 2014 –
We are very pleased to present a very rare screening of a landmark structural/materialist work Room Film 1973 by English filmmaker and theoretician Peter Gidal. Few descriptions of the film’s actual content have been attempted most likely because such description would not only fall short of the actual viewing experience, but it would miss the point. Gidal says of the film “The work is not a translation of anything, it is not a representation of anything, not even of consciousness”.
November 3, 2014 –
Microscope is pleased to present Una Vita Violenta (A Violent Life) based on the novel of the same title by the Italian poet, writer, artist and film director Pier Paolo Pasolini after a copy serendipitously arrived in the mail. We were already thinking about Pasolini given current attention to Abel Ferrara’s new film Pasolini about the last day of his life and the release of the English translations of his selected poetry by Chicago University Press.
This 1961 black and white narrative feature is considered to be quite faithful to the Pasolini’s book of the same title, which is the second in what was conceived as 3 novels set in the slums of post-war Rome. With elements of Bildungsroman, film noir, and Italian neorealism the film follows several years in the life of the main character Tommaso from a violent teen with fascist leanings to an awakened young man still unable to escape the tragedy of his circumstances.
November 7, 2014 –
Microscope presents as its first live sound performance night in its new space performances by sound-artist Richard Garet, turntablist Tristan Shepherd, and cellist Leila Bordreuil, both in solos and together as an improvised trio.
For his performance, Garet will focus on creating processes that interact and activate sonic material such as electromagnetic waves, modified tape, cracked media, sonification of light, and computer processing, creating a poly-layered field that articulates colliding-forces carefully treated, weighed, measured. Using turntable and mixer, Tristan Shepherd will explore the possible transformations of his source materials through repetition, timing and minute variation using a combination of dubplates, modified records and custom software, in music that “moves sideways instead of forward or backward”. And, Leila Bordreuil will perform a set of amplified and prepared cello using a variety of microphones and carefully positioned amps to create a wide range of spacial textures in which no electronic processes are involved.
November 13, 2014 –
Microscope is very pleased to welcome back Paris-based curator and researcher Enrico Camporesi for a second survey of 16mm films selected from the Light Cone collection (Paris). The evening includes works by Jean-Pierre Bertrand, David Wharry, Unglee, Jakobois, and Téo Hernandez that have rarely, if ever, screened in the US.
November 15, 2014 –
Microscope Gallery is pleased to present an evening of new and recent stop motion animations and live music performance by Brooklyn-based artist and musician Alice Cohen. Appropriating discarded images found in old books and magazines, Cohen’s animations create a mystical and surreal internal landscape exploring the history of glamour and femininity.
November 23, 2014 –
Microscope Gallery is pleased to present a night of video screening and performance by New York/Paris-based artist Angie Eng, with PIMA (Performance Interactive Media Art) lab members John Jannone, Cara Juan, Adrian Jevicki, Hollie Miller, Rebecca Posner, Lisa Szolovits and guest musician Daniel Veksler. Eng participates in 6 of the 7 works, with performances either in solo or in collaboration, including two segments of her “Ad Attacks”, rapid-fire rounds of original footage of street advertisements from her hand-held projector. The PIMA ensemble presentations include “a game piece alluding to shared economies, an exquisite corpse action figure, radio remote arrangements, a detritus dance ritual and a transgender giant digital squid.”
November 24, 2014 –
Microscope welcomes Filipe Afonso, Paris-based artist and film programmer at Collectif Jeune Cinema, to the gallery for a screening of his new and recent video works. The 6 videos in the program, all completed between 2012 and 2014, offer personal reflection and observations of the act of watching itself in a society increasingly populated by alternative realms accessible through digital screens – from present TV, to arcade video games, phones, computer-based slide shows and timelines. Looking more closely at what is already in plain sight, Afonso shows individuals absorbed in their daily consumption and interaction with these rectangular flows of images – including himself – and seems to propose rewriting Descartes’ paradigm as “I watch, therefore I am”.