Frenkel Defects is a traveling program of workshops and screenings that attempt to form in its audience imperfect ideas of film. It takes the ordered sequence of thoughts and feelings we hold about the medium and disrupts them or deforms them. These imperfections are not the same for each individual. They are not a prescription of a specific idea of film. They are an opening to new and unique sensations of wavelengths and frequency. An exposure on the mind and body to particles of light, for only fractions of a second, but nonetheless imparting a latent image within us to be developed.
Friday, February 1, 2019
7pm – 8:30pm
207 King St.
$5 admission (no one turned away)
Presented in collaboration with McIntosh Gallery
16mm Film Programme:
26 Pulse Wrought Volume 2: Exceptional Violents
Andy Busti | United States | 3 minutes | 2018
We…the vessels of maddened lovers on fattened horses
Alee Peoples | United States | 11 minutes | 2017
Decoy sees bridges and walls as binary opposites and relates them to imposters in this world. Humans strive for accuracy. You don’t always get what you wish for.
Esther Urlus | Netherlands | 8 minutes | 2016
Calm shots of a seascape also examine optical colour mixing using various flicker effects. Shot on the exact spot in Greece that marked the country’s entrance into World War II
A Study in Natural Magic
Charlotte Pryce | United States | 3 minutes | 2013
Witness an alchemist’s spell: the transmutation of light into substance: a glimpse of gold.
(((arc))) | United States | 6-8 minutes | 2018
Esther Urlus | Netherlands | 10 minutes | 2017
An explosion of colour, yet without any clear, identifiable images. Still, the spectator, almost unconsciously, notices that something distressing is going on. Something that makes you shudder and awakens a deep, dark part in your primordial instinct. In our view on the world we continuously filter, block and distort certain parts. We commit ourselves to a perception that does not necessarily correspond with reality. Maybe not being able to identify what we see is essential to provoke our imagination. Will you look differently at the image knowing that it represents something horrible? DELETION is inspired on the abandoned process of creating colour, Autochrome, and is made with homebrew film emulsion.
Charlotte Pryce | United States | 3 minutes | 2015
Delicate threads of energy spiral and transform into mysterious microscopic cells of golden dust: these are the luminous particles of the alchemist’s dream. Prima Materia is inspired by the haunting wonderment of Lucretius’ De Rerum Natura. It is an homage to the first, tentative photographic records that revealed the extraordinary nature of phenomena lurking just beyond the edge of human vision.
AN EMPTY THREAT
Josh Lewis | United States | 8 minutes | 2018
A sequence of truces, a personality test offering mostly slippage.
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About the Artists:
Primarily a filmmaker, Andrew Busti has been making “handmade” films for 15 years. Technical advisor of Film Studies at the University of Colorado at Boulder, he is also an instructor for Alternative Process Cinema. Film facilitator, archivist, and preservationist, he runs Analogue Industries Ltd., while also board member of the non-profit analogue film collective Process Reversal.
Alee Peoples is an artist from Oklahoma City, currently living in Los Angeles. She maintains a varied practice that involves screen-printing, sewing and sculpture. Film is another medium in her work that relates to how we understand language in a linear format. Aside from Oklahoma City, she has called Kansas City, Chicago, Philadelphia, and Providence home. She has taught youth classes at Echo Park Film Center. In April of 2014, along with her friends Abby Banks and Cosmo Segurson, Alee got in a van and shared their films and videos across the Southwest/Southern regions of the U.S.
Esther Urlus (1966, Netherlands) makes films, performances and installations on 16mm, 35mm and Super-8. The DIY method is always present in her work. Urlus is co-founder and leader of the experimental WORM.filmwerkplaats in Rotterdam. Her films have been screened at several festivals worldwide, such as 25FPS Festival Zagreb, Ann Arbor Film Festival, Oberhausen International Short Film Festival, Sonic Acts, and International Film Festival Rotterdam.
Charlotte Pryce has been making films and optical objects since 1986. She has taught experimental film at the School of the Art Institute of Chicago, the San Francisco Art Institute, the Academy of Art (San Francisco), Kent Institute of Design (Canterbury, England), and is currently a faculty member at the California Institute of the Arts (Los Angeles). She is a graduate of the Slade School of Art, University College London (BFA) and the School of the Art Institute of Chicago (MFA). In 2013 the Los Angeles Film Critics Association honored her with the Douglass Edwards Award for best experimental cinema achievement. In early 2019 the International Film Festival Rotterdam will present a retrospective of her work.
(((arc))) is usually initiated by tooth, an artist living in Oakland who has operated the microcinema/archive black hole cinematheque since 2009. Their work has been presented locally and internationally at Other Cinema, ATA, San Francisco Cinematheque, The Lab, Shapeshifters Cinema, Berkeley Art Museum and Pacific Film Archive, San Francisco Museum of Modern Art, The Nightingale (Chicago), Massart Film Society (Boston), NDSM Treehouse (Amsterdam), and the Ann Arbor Film Festival, among others.
Josh Lewis is an artist and filmmaker working at a fluid intersection of abstraction, documentary, and narrative forms. Coming from a background of work in photochemical film processing labs, Lewis’s handmade films explore the boundaries of manual knowledge, bodily struggle, and the persisting enigma of material potential. He’s shown work at venues such as The Centre Pompidou, Anthology Film Archives, Microscope Gallery, Eyebeam, Uniondocs, The Filmmaker’s Co-op NY, and at festivals such as The International Film Festival Rotterdam and Ann Arbor Film Festival. Josh is a lab technician and founder of the artist-run film lab Negativland.
About the Curator:
Kevin Rice has been working with film since 2007. His practice is predominantly based in the darkroom where he researches all aspects of photochemistry and performs in depth experiments on 16mm which occasionally result in a “film.” In 2012, he co-founded Process Reversal, a non-profit whose mission is to advocate and ensure the viability of film for all. His work there has included a wide spectrum of outreach activities aimed at helping to develop an artist run film lab network in North America. During his time with Process Reversal, he developed a model for traveling screenings and workshops which would eventually be structured as the traveling program, Frenkel Defects. As of 2017, Kevin has been based in Milwaukee, Wisconsin where he is working to build a new artist run film lab and cinema. His current film project is a site specific adaptation of the book General Sensitometry by Yuri Nikolayevich Gorokhovskii.
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LOMAA is an emerging, enthusiastic and devoted non-profit artist run collective that fosters collaboration, investigation and innovation by tapping into local talent and serving the needs of media artists in the London region.
McIntosh Gallery is a centre for the presentation and dissemination of advanced practices and research in the fields of art history and contemporary visual art. McIntosh serves the students, faculty and staff of Western University and the broader community of the City of London as a teaching and research resource. Ongoing programs and services actively promote innovative projects in the production, exhibition, interpretation and collection of visual culture.
LOMAA wishes to thank the London Arts Council’s Community Arts Investment Program for their continued financial support. Additional thanks go to McIntosh Gallery in co-organizing this event.