Coal oven (Germany)
- Experimental jazz
Amoebazoid - Kthozoid
(Irland)
Vinyl
-terror & -horror and Dr. Nexus (Denmark/Berlin)
- Deep listening Noise
Cizzy
Gonzales and Teresa Hackel
(Austria/Germany) - Performance - Flute/Dance
Cubop
(Mexico)
Livecoding
performance with SuperCollider - by Yvan Volochine
Dan
Hekate (UK)
Dave
Pitchless (UK)
- Drone/noise
Circuit
parallele (France/Germany)
- Ambient/electronic
IOS71
(Bulgaria) noise/text
Hurst & Winterberg (Germany)
Störenfried -
Circuit bending performance (Germany)
^top
VISUALS
Paul
Prendergast
(Irland)
Klabo
(Italy)
EXHIBITION/INSTALLATIONS
Yung-shan Tsou (Taiwan)-
Painter - Sculptor
Luke
Moss / Dybbuk (UK)-
Painter - 3D artwork
Vinyl
-terror & -horror and Dr. Nexus (Denmark/Berlin)
Mechanical installation
Seamus
O'Donnell (Irland)
Dependencies, borders,
show me revolutions, but only on the weekend.
In truth the world revolves around its axis once a day. are we experiencing
daily revolutions? Or are we running in the opposite direction seeking
that from which we run?
Jennifer
Baumeister
(Germany)
Installations,
video, painting and sculpture
Arbma
(Italy/Germany)
Sculptor - Painter - Silkprint
Yann
H
(France/Germany)
Daniela
Gast (Germany)
R4
- Monoscape
(Italy)
Udh
(France)
Matthias
Marx (Germany)
Sebastian
Rietz (Germany)-
Infos soon.
Dave
Pitchless (UK)
Barbara
Lubich
(Italy)
Ole
Wulfers (Germany)
Gerd
Hänsel (Germany)
^top
CINEMA
Paul
Prendergast
(Irland) and Laila Evenson (Norway)- Selection of movies
Paul Prendergast and
Laila Evenson will curate the film/video programs for the Incredible
10 experimental Arts Festival.
One programme will
be loop screened for 3 days throughout the entirety of the festival
and the second over 3 nights of Special Screenings.
All works are experimental shorts from an international artist base,
with the aim to present as full a picture of the current cutting edge
movements and trends taking place in contemporary film/video practice
and also an educational glance back to inspired rarely seen older work.
The two different
screenings will draw on artists inspirations within the framework of
the categories below:
Re-used/Found footage,
Resistance Film
Sound driven film/film driven sound,
Movement/Repetition,
Scratch Films
Animation
Mash-up clips
Documentary(poetic/film essay/experimental narrative).
Experimental Shorts(visually/orally/textually/texturally).
Trash
Past Masters - A short-sharp-shock glance back at older rarely
seen influential film artists work,where a traceable direct lineage
can be made to contemporary current experimental film trends.
---
Film Submission --- (deadline June 12th, 2010):
Please send us a DVD copy of your video work to - Theincredibleten c/o
Jennifer baumeister, prenzlauer allee 238, 10405 Berlin. If you want
your dvd returned, please include a return address.
- include a short text describing the work, a link to the work online
and a short CV to incredibletenfilm@gmail.com
Cinema
program:
(not complete yet)
ALEX
PEARL (UK) – HOW TO DANCE – 9.27 – 2005
INSTRUCTIONAL VIDEO IN SEVERAL PARTS
Dancing has always
held a strange and fearful position in my life. I can see joy and freedom
in it, but have only ever experienced sweat and embarrassment. In a
desperate attempt at self help I came up with the idea of interviewing
people to get advice on how to dance and then making a sort of instructional
self help video in several parts. Each film takes either a personal
account of, or freely given advice on, the art of dancing. Each section
is made by rehabilitating a forgotten, lost or broken object and giving
it a chance.
Different levels of
control exist in the making of the films. A broken clockwork frog is
bullied into performing through the use of editing. A dancing balsa-wood
man looks like a puppet but is really a completely free willed automaton.
An insect appears uncontrolled but is in fact carefully choreographed
by the breath of the artist's beautiful assistant. Like most self help
videos I intend to completely ignore all advice given.
www.alexpearl.co.uk
LINDA
ROGN (NO) – BY HER SIDE, BUT TAKE MY LEFT ARM TOO – 3.15MIN
– 2008
This is a video where
you meet a girl who moves to music, whilst a boy observes her, questioning
the fact of being seen, who the onlooker is, and the different reflections
individual viewer can add to the work.
www.cs55.n
KENNEDY/BROWNE
(IRE) – (THE BIG ONE) – 5MINS – 2007
(the big one) is an
artists’ cut of a 1970s movie. Through the careful editing of this
footage the artists re-contextualise what was a fleeting sequence in
the original film and re-frame this fragment, thus giving it new meaning
abstracted from its original context. The film was originally made around
the time of the 1970s oil crises. At this time OPEC countries in the
Middle East cut supplies of oil to the West, and caused much insecurity
in industrialised America and Europe.
www.gkennedy.inf
SYLVIA
SCHEDELBAUER (GER/JPN) – WAY FARE – 6.30 – 2009
A layered tone poem
of found images and woven soundscapes renders a shifting psychogram;
a nomadic passage across spaces in and out of time.
www.sylviaschedelbauer.com/
-- Found Footage/Scratched/Re-mixed/Re-Used
--
JOHANNA
REICH (GER) – KASSANDRA – 4.05 – 2008
Johanna Reich’s
video performance Cassandra investigates the self-conception of both
static and sequential images through several centuries. She is particularly
concerned with taking up,or paring down,existing narrations of the Cassandra
myth. A look at the projections can explain this better.
Johanna Reich’s
Cassandra shows how a deliberate decision is necessary if we are to
see for ourselves.In order to ªsee´ with our own physical
senses we must neither avoid the effort nor fear the new start.It is
a gesture that requires us to continually reposition our own seeing.
www.johannareich.com
VERONICA
MOTA (MEX) – MR MACHINE – 2.02 – 2009
Avant garde short
made with found material from youtube.
veronica-mota.blogspot.com
PAUL
PRENDERGAST (IRE) – HOW TO CUT UP ROUGH – 3.17 - 2009-2010
16mm found footage
films get chopped, scratched, hole punched, painted on, deconstructed,
recontextualised and recycled , the overall purpose of which is to not
only question the film structural form and process but to create new
meanings, values and insights.
www.pprendergast.com
THORSTEN
FLEISCH (GER) – WOUND FOOTAGE – 6.02 - 2003-2009
The source material
is a found footage super 8 film. The visual carrier was attacked in
a multitude of ways. It was scratched, cut open and violated. I captured
an attempt to screen it. There it burned and was destroyed by the projector.
Sorry little film. With the video footage I provoked the encoding. As
a result some pixels were dislocated. In the end I reshot the film from
the monitor while I somehow angered the cables that connect the monitor
with my computer. That all may sound very negative to you but the goal
was an almost humanist one: Unification of the digital with the analogue
world. They seem so far apart and yet they aren’t. By exposing
every material’s weaknesses and injuries it was made one. It’s
all visual sensations in the end. Rita Hayworth grindily sings along.
www.fleischfilm.com
ROB
GAWTHORPE (UK) – PROJECTIONS FOR PERCUSSION ETC.. - 3MIN –
1990
A range of percussive
instruments, whistles, shawms, toys and radios were played in the light
beam of a projector, in their own shadows and re-projected and re-filmed
again and again, alternating positive and negative. Cut together dynamically
and in two parts using two types of ‘system’.
www.automatednoiseensemble.co.uk
THAD
POVEY (USA) – TO THE BEAT – 7.13 – 2006
To The Beat is a camera-less
film made by The Scratch Film Junkies - a loose collective of direct
animators that gather to make film like quilters make quilts. The soundtrack
is by the German percussionist Steven Garling.
www.thadpovey.com
CRAIG
BALDWIN (USA) – WILD GUNMAN – 19MINUTES – 1985
Mobilizing wildly
diverse found-footage fragments, obsessive optical printing, and a dense
"musique concrete" soundtrack, a maniac montage of pop-cultural
amusements, cowboy iconography, and advertising imagery is re-contextualized
within the contemporary geopolitical crisis in a scathing critique of
U.S. cultural and political imperialism.
www.othercinema.com
STINE
GONSHOLT – BALANCE – 2.40MIN – 2010
We see 2 brothers
balancing on the roof of a building. It discusses the ambivalence between
the risk of living versus a society obsessed with security and protection.
www.gonsholt.com
JOHANNA
REICH – WILD HORSES COULDN’T DRAG ME THERE – 2.49MIN
– 2008
Found footage from
John Hustons film “The misfits”, 1961 Disorganisation of the
screen. The face of a film star receives drastic changes while removing
eyes and mouth.
www.johannareich.com
LAILA
EVENSEN – FILMS OF DREAMS – 4.20MIN – 1999-2010
A project based on
dreams and how, and whether, it is possible to recreate a dream, or
the feeling of a dream through the medium of super 8 film. These 3 films
were originally projected in a gallery, one film loop in each of the
3 rooms, aiming to create the feeling of going through a labyrinth of
dreams.
www.youtube.com/user/LailaEvensen
PAUL
PRENDERGAST – 'TIL DEATH US DO PART – 2.19MIN – 1999
An exploration of
an artist through the slow revealing of personal objects and acquaintances
or a meditation on avant garde dream logic forms? A spinning top spins.
Personal objects are slowly revealed. A girl confronts the lense. Abstract
imagery abounds. Time passes by... - all revealed through the haze of
a 16mm lense.
www.pprendergast.com
SYLVIA
SCHEDELBAUER – REMOTE INTIMACY – 14.52MIN – 2008
Remote Intimacy is
a found-footage montage which combines many types of archival documentary
footage (including home movies, educational films, and newsreels), with
a seemingly personal narrative, blending various individual recollections
with literary texts. Beginning with an account of a recurring dream,
the film is a poetic amplification of Memory, and with its associative
narrative structure I hope to open up a space for reflection on issues
of cultural dislocation.
www.sylviaschedelbauer.com
YVONNE
BUCHHEIM – SONG ARCHIVE PROJECT – LISTEN TO ENGLAND –
6.20 – 2008
The aim of the Song
Archive project is to develop a body of works that examine contemporary
song culture in a visual art context. The Song Archive project began
in 2003 in response to a song collection from 1773 by Johann G, Herder.
His collection and theory suggests that the cultural identity of a people
is reflected through their song tradition.
In response I invite
people from different ages and social backgrounds to perform a song
of their choice in front of a video camera. The participants are asked
for spontaneous performances without preparation, creating raw honest
acts of self-assuredness, embarrassment, dignity, skill, enjoyment,
solidarity, and vulnerability. Singing, often a private act is made
into unrehearsed public performance.
www.song-archive.org
JOHANNA
REICH – FLEETING GLIMPSE – STREET – 5MIN 20SEC –
2009
Series “the aleatoric-kinetic
camera” - Floating images.
A camera is laying
on the ground. Somebody is kicking the camera along the a street in
Cologne. Each collision generates fleeting images of the environment.
The “image generator” creates a portait of a street in Cologne,
Ehrenfeld, a former working class district showing postwar architecture
from different perspectives.
www.johannareich.com
JOHN
SMITH WITH GRAEME MILLER – LOST SOUND – 28MIN – 1998-2001
Lost Sound documents
fragments of discarded audio tape found on the streets of a small area
of East London, combining the sound retrieved from each piece of tape
with images of the place where it was found. The work explores the potential
of chance, creating portraits of particular places by building formal,
narrative and musical connections between images and sounds linked by
the random discovery of the tape samples.
www.johnsmithfilms.com
-- 1: Psychological Social Regionalism --
NICKY
COGHLAN – THE LATE SHOW – 2.58 – 1999
An English radio DJ
waxes lyrical on all the finer things in life. Featuring constant interruption
from an uppity barrow, some fluff, a sock and reflective light. An experiment
in Anthropomophism.
www.nilpod.com
YVONNE
BUCHHEIM – SONG ARCHIVE PROJECT – LISTEN TO ENGLAND –
6.20 – 2008
The aim of the Song
Archive project is to develop a body of works that examine contemporary
song culture in a visual art context. The Song Archive project began
in 2003 in response to a song collection from 1773 by Johann G, Herder.
His collection and theory suggests that the cultural identity of a people
is reflected through their song tradition.
In response I invite
people from different ages and social backgrounds to perform a song
of their choice in front of a video camera. The participants are asked
for spontaneous performances without preparation, creating raw honest
acts of self-assuredness, embarrassment, dignity, skill, enjoyment,
solidarity, and vulnerability. Singing, often a private act is made
into unrehearsed public performance.
I have also taken
on an interventionist role in the form of public performance based events
to engage with local communities and encourage interaction with the
project. The resulting artwork demonstrates a complex set of relationships;
between myself, the participants and the significance of place.
www.song-archive.org
MICHAEL
SMYTH – WHAT DOES... - 2.34 – 1999
THAD
POVEY – THINE INWARD LOOKING EYE – 1.57 – 1993
To paraphrase something
Lao Tzu didn't say: This film's an empty cup -- You fill it up. This
film was originally a part of I Smell The Blood Of An Englishman, a
suite of four films dealing with two words: human and being. The suite
has been dissembled back into its four component films. You dont watch
this film. It watches you.
www.thadpovey.com/
JO
MILLETT – 21 SECONDS OF EAST RIDING – 5MINS – 2009
Made from a small
section of found film footage (1950’s, from the Yorkshire Film
Archive), 21 sec of East Riding examines the relationship of sound and
image, recollection and memory. As the tempo decreases, sound and image
diverge as their differing materiality’s become apparent, but only
in relation to what has been seen and heard before.
www.jomillett.co.uk
LINDA
ROGN – BY HER SIDE, BUT TAKE MY LEFT ARM TOO – 3.15MIN –
2008
This is a video where
you meet a girl who moves to music, whilst a boy observes her, questioning
the fact of being seen, who the onlooker is, and the different reflections
individual viewer can add to the work.
www.cs55.no
KATY
WOODS – THE HOURS PASS (BUT NOT FOR YOU) – 3.51 – 2010
A short Sketch at
a night-time establishment: time passed by a young Lady in the presence
of another, with Musical Accompaniment, 2009
'A short Sketch at
a night-time establishment: time passed by a young Lady in the presence
of another, with Musical Accompaniment' is part of The Politics in the
Room, a public project of the first year of the LUX Associate Artists
Programme. It takes the form of eight video episodes, loosely structured
around a comment by the American artist Gregg Bordowitz (a guest speaker
on the programme) that questioned not what constitutes politics in general
but rather what are the politics of the room you are in. Each of the
episodes reflects on the experience and content of the programme from
the separate yet interlinking perspectives of its eight participants.
The videos were released two per week between 16th March 2009 and 12th
April 2009. All eight videos now remain on the site thepoliticsintheroom.org
www.axisweb.org
-- 2: Black &
Light --
JOHANNA
REICH – BLAST – 1MIN – 2008
Found footage from
John Hustons film “The misfits”, 1961
Shattered dreams…
www.johannareich.com
ANDREW
QUINN – FLUID – 1.50 – 2005
www.slackvideo.org
MICHAEL
SMYTH – BOOGALOO – 1.32 – 1999
PAUL
PRENDERGAST – TIL DEATH US DO PART – 2.15 – 1999
An exploration of
an artist through the slow revealing of personal objects and acquaintances
or a meditation on avant garde dream logic forms? A spinning top spins.
Personal objects are slowly revealed. A girl confronts the lense. Abstract
imagery abounds. Time passes by... - all revealed through the haze of
a 16mm lense.
www.pprendergast.com
ROB
GAWTHORPE – FILM NOISE – 1 MIN – 2006
Hand without a camera.
Raw negative film was successively given longitudinal scratches over
the picture and sound areas, contact printed, processed, and repeated
over ten times. Various tones and noises are produced through the optical
sound system, coinciding with the visual scratch.
www.automatednoiseensemble.co.uk
YOANN
TRELLU – THE PLAN – 1.52 – 2003
Variation is a multiform
project : DVD, Screening, Installation. The Plan is one part of variation.
How much does the sound / music change the way we percieve an image,
a video ? Variation is a study about on this question. 10-15 videos,
each of them have 2 to 5 different music / soundtracks. Most of these
videos are quite abstract and close to photography :
- very few or no camera
movement.
- single shot, almost no cut / transition
- a lot of post processing (colors, contrast, effects...)
www.keyframed.org
SYLVIA
SCHEDELBAUER – FALSE FRIENDS – 5.02 – 2007
A montage of mid-century
found footage: mysterious strands are obsessively braided to create
a poetic reflection about an anxious interplay of memory and projection.
www.sylviaschedelbauer.com
THORSTEN
FLEISCH – ENERGIE – 5.08 – 2007
From a mere technical
point of view the TV/video screen comes alive by a controlled beam of
electrons in the cathode ray tube. For ‘Energie!’ an uncontrolled
high voltage discharge of 30.000 volts exposes multiple sheets of photographic
paper which are then arranged in time to create new visual systems of
electron organization.
www.fleischfilm.com
-- 3: Sonic Visual
--
JO
MILLETT – 85 NOTES – 3MINS – 2001
A piano music installation
where the 85 notes of a piano are pictured sampled and randomly played.
The image is of grey numbers, which coincide with the sounds –
the greater the number, the higher the pitch. The audio is the sound
that they make, with the percussive attack removed and the sustain/decay
extended, radically changing the dominant characteristics of the sound
but not losing their piano-ness altogether.
www.jomillett.co.uk/
BOB
LEVENE – STRING PATTERN – 3.34 – 2004
String Pattern animates
four short pieces of string into an elegant dance, each playing off
of one another. Using video to animate frame by frame and layer the
image, I orchestrate the string and explore the relationship between
the sound and image. – It plays with the associations and expectations
often experienced in cinema by the unity of image and sound.
www.boblevene.co.uk
MCPARTLAN
AND QUINN – FRACTION MUSIC – 3.20 – 2004
“An algorithmically
controlled audiovisual composition, using close-up footage of a strum
on a single guitar string which has been fragmented into various fractional
harmonic and discordant pitches and rhythms by speeding up different
sections of the footage into the necessary fractions (1/1, 7/8, 5/6,
6/8, 4/6, etc.). 12 layers of 24 bars of repeated single string strumming
are overlaid on top of each other (and separated on screen into their
fractions) and each played at different speeds.” Andrew Quinn
www.petemcpartlan.co.uk
ROB
GAWTHORPE – PROJECTIONS FOR PERCUSSION ETC.. - 3MIN – 1990
A range of percussive
instruments, whistles, shawms, toys and radios were played in the light
beam of a projector, in their own shadows and re-projected and re-filmed
again and again, alternating positive and negative. Cut together dynamically
and in two parts using two types of ‘system’.
www.automatednoiseensemble.co.uk
PETE
MCPARTLAN – LINEAR DRUMS – 1.50MIN – 2006
A short ‘film’
playing with two different types of editing. The piece was filmed using
in-camera editing on a VHS-C camcorder, which was then digitally edited
alongside recordings made with in-taperecorder editing on an old dictaphone.
The video plays with the idea of synchronised sound and eventually gives
up.
www.petemcpartlan.co.uk
CHRISTOPHER
GLADWIN – E.M. PICK-UPS' ASSORTED CONSUMER ELECTRICALS – 3MINS
– 2008
www.psybertron.co.uk/
LAILA
EVENSEN – NOT TITLED – 2.20MIN - 2006
A play on the idea
of roles and conflicting feelings and identities. Who we are and how
we want to be seen, how you see yourself, and how others actually perceive
you. Drawing on ideas of the good and the bad, right and wrong.
^top
WORKSHOPS
Jo
frgmnt - Special
Noise Unit(SNU) workshop -
Electronic DIY
Pinhole
Spectacle IV at "The Incredible 10" Festival - Photography
Workshop July 9-10-11 2010
Silkscreen
workshop
^top