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Film Programs
Special Events: Fall 2016
Parallel Practices: Artists and the Moving Image
Modern Re-Mixed

October 13 at 6:30 and 8:00
East Building Mezzanine

Please note that registration for Evenings at the Edge is required for this event.

Live piano accompaniment by Andrew Simpson

Authored under Marcel Duchamp’s female alter-ego Rrose Sélavy, Anémic Cinéma (Marcel Duchamp and Man Ray, 1926, film transferred to video, 7 minutes) confounds standard orders: the work explores plays of word and image in the form of puns and optical illusions and converts the still texts proper to silent film into moving images. Nine years later, the artist translated the spinning disks from celluloid into the real-world multiples he titled Rotoreliefs (1935).

As the cinematic intermission for Francis Picabia and Erik Satie’s live ballet Relâche (1924), Entr'Acte (Francis Picabia, René Clair, and Erik Satie, 1924, film transferred to video, 25 minutes) literally connected to a piece in another medium. Uncommon views, superimposition, stop motion, as well as slowed and accelerated motion all animate Entr'Acte. However, it also has an aesthetic recipe common to Picabia’s static works: his is an art of diverse juxtapositions, fragmented forms, and borrowings from industry and popular culture—all mixed up with liberal lashings of humor.

With his only film, Ballet Mécanique (Fernand Léger with Dudley Murphy and Man Ray, 1924, film transferred to video, 19 minutes), Léger presents a disorienting, kaleidoscopic modernist vision. With multiplied and repeated views from a dancing camera, filmed reality slides toward abstraction on screen. Via innovative cinematic framing, cuts, and montage, Léger achieves repeated, mechanized geometries that parallel those he picks out with brush and paint. Man Ray, a collaborator on the project, would similarly return to the close-up shot of lips for his painting A l’Heure de l’observatoire, les amoureux (1932-4). -- John Tyson

still from Anemic Cinema
courtesy Museum of Modern Art

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