Wednesday, October 18, 2017

EFS @ @ FEDAXV 2017, Chile


Rouzbeh Rashidi will be at the Festival de Diseño Audiovisual Experimental Valdivia (FEDAXV) Chile (24-26, October 2017) to present two programmes of Experimental Film Society. This project made possible with support from Fedaxv and their sponsors. Special thanks to Roberto de la Parra and Gonzalo Aranda Toro.

Programme One:

1 Impulsive Film (2016) By Jann Clavadetscher / 2 Minutes / Ireland
2 Controle No6 (2014) By Jann Clavadetscher / 13 Minutes / Ireland
3 Murder (2014) By Michael Higgins / 5 Minutes / Ireland
4 The Family Vault of James Hyland (2017) By Michael Higgins / 14 Minutes / Ireland
5 Homo Sapiens Project (161-170) (2013) By Rouzbeh Rashidi / Ireland / 8 Minutes
6 Oasis (2015) By Atoosa Pour Hosseini / 7 Minutes / Germany-Ireland
7 Gleanings (2017) By Atoosa Pour Hosseini / 8 Minutes / Switzerland-Ireland
8 Refining the Senses (2017) By Atoosa Pour Hosseini / 13 Minutes / Switzerland-Ireland

Total running time: 70 Minutes

Programme Two:

1 Contact (2011) By Vicky Langan/Maximilian Le Cain / 3 Minutes / Ireland
2 In the Place of Origin (2016) By Vicky Langan/Maximilian Le Cain / 17 Minutes / Ireland
3 Play Ground (2017) By Vicky Langan/Maximilian Le Cain / 16 Minutes / Ireland
4 Homo Sapiens Project (150) (2013) By Rouzbeh Rashidi / Ireland / 36mins

Total running time: 70 Minutes

Tuesday, October 17, 2017

PLAY GROUND: New Langan / Le Cain Collaboration


I’m delighted to announce the completion of Play Ground, the latest Vicky Langan / Maximilian Le Cain collaboration. This 16-minute film is a tribute to Frans Zwartjes. It was made was the support of Centre Culturel Irlandais, Paris, during our residency there this August. A slightly alternate version is also being used as part of the series of performances we are giving at the moment, including our upcoming appearance at LUFF (Lausanne Underground Film & Music Festival).

Play Ground will receive its premiere as a film at Festival de Diseño Audiovisual Experimental Valdivia (FEDAXV) Chile (24-26, October 2017).

Monday, October 09, 2017

Alan Lambert's CIRCLES OF THE SUN @ IndieCork


The great Alan Lambert's new feature Circles of the Sun, in which I play a small role, will premiere this Saturday 14th at IndieCork Festival:

The year is 2035. Europe has collapsed and the economic centre of the western world has shifted to the Baltic regions, which are in ongoing conflict with Russia. The security breeches that led to this warring state have caused the internet to be dismantled. Digital technology is now reserved for military and police operations. Civilian operations are served by analogue technology. Against this backdrop, Irish forensic artist Marcel Marcel arrives in a small town to be apprenticed to David, a holographic photographer who documents crime scenes. He is accompanied by his wife, writer and criminologist Julia Marcel. Marcel and David, with the aid of high speed holographic ‘Femto’ cameras, begin to unearth a mysterious world of invisible criminals.

Monday, October 02, 2017

EFS Films + Langan / Le Cain Performance @ LUFF

Delighted to announce that Experimental Film Society is invading the 2017 edition of LUFF (Lausanne Underground Film & Music Festival, October 18th - 22nd)...
Fri 20th:    Rouzbeh Rashidi's Trailers
                  Vicky Langan & Maximilian Le Cain Live Performance

Sat 21st:    Langan/Le Cain Short Film Programme

Sunday, October 01, 2017

Present Haunts @ CIT

Present Haunts
Jackie Burke, Cat Gambel, Vicky Langan, Max Le Cain
Curated by Pádraig Spillane
James Barry Centre, Cork Institute of Technology
Opening Thursday October 5th, 5pm
Running October 5th - 17th
arts.cit.ie

Present Haunts features four 2017 graduates from the MA in Art & Process at CIT Crawford College of Art and Design. This exhibition explores shifting influences within our contemporary times. It considers our present flux through different modes: our witnessing of mass-media exclamations, experiences of contemporaneous influencers, and corporal moments in time.

Jackie Burke’s paintings translate digitally disseminated and mass-consumed images of power. Her works focus on the communication of political stagings and what aftereffects come from them. In searching from the present to the past, Cat Gambel’s clay and photographic works interrogate how to represent forgotten individuals from family archives. These works do not provoke reaction but reflection, wanting us to notice what is hidden in plain sight to bring understanding and reconciliation.

Vicky Langan and Max Le Cain, working singularly and collaboratively, seek to bring our attention to experience perceived through an intensely somatic perspective. Langan, whose practice transverses performance, sound art and film, presents her sound work Stacked, an intimate reorientating of domestic space. Le Cain, with both moving and still images, creates ambiguous filmic moments disclosing alternatives that reside in every moment. The works presented in Present Haunts look beyond the narratives that are sanctioned to us, seeking new and alternative ways to connect with each other in our current times. Langan and Le Cain will present a new performance during the exhibition.

Present Haunts is a new iteration of - slips, speaks - which was presented in May of this year at 12 Star Gallery, Europe House in Westminster. Present Haunts is a returnal to the institute and Cork city for the four artists and their art works.

Saturday, September 23, 2017

Langan / Le Cain in Tulca 2017


I'm delighted to announce that Vicky Langan and I were invited to make a new feature-length film for Tulca Festival of Visual Arts 2017. More on the film coming soon...
They Call Us The Screamers 3 November – 19 November 2017
TULCA Festival of Visual Art, Galway, Ireland
The 15th edition of TULCA Festival of Visual Art – titled They Call Us The Screamers – features artworks by Irish and international artists that are presented across six venues: Galway Arts Centre, 126 Artist Run Gallery, Nun’s Island Theatre, Connacht Tribune Print Works, Barnacles Hostel, and University Hospital Galway. The participating artists are: Fabienne Audeoud, Sam Basu and Liz Murray, Kian Benson Bailes, David Beattie, Oisin Byrne, Ciarán Ó Dochartaigh, Vicky Langan and Maximilian Le Cain, Liz Magic Laser, McGibbon O’Lynn, Yvette Monahan, Yoko Ono, Plastique Fantastique, Richard Proffitt, Bob Quinn, Florian Roithmayr (with Meredith Monk), Kaspar Oppen Samuelsen and Marie-Louise Vittrup Andersen, Lucy Stein
The exhibition takes its reference from a book written by Jenny James, published by Caliban Books in 1980. The book is an account of Atlantis, the commune she established a few years earlier in the Gaeltacht village of Burtonport, County Donegal – promoting an approach of de-programming from the modern world through therapeutic self-development and environmental self-sufficiency.  The book is also a response to the controversies and scandals that embroiled the commune during their first years in Ireland, following accusations of cultish behaviour, kidnapping, and physical abuse. The members of the commune were collectively nicknamed ‘The Screamers’ in a 1976 Sunday World article, referring to their practice of primal scream therapy – an adapted form of psychotherapy developed by Dr Arthur Janov that sought to re-enact the traumas of modern upbringing and thereby reverse the neurosis that follows in later life.
They Call Us The Screamers provides the title and thematic compass for the exhibition, with artworks that are orientated to ideas held together by the historical episode. They include ideas of withdrawal and selfhood (Lucy Stein, Liz Magic Laser, Vicky Langan & Maximilian Le Cain, Richard Proffitt); autonomy and self-sufficiency (Kaspar Oppen Samuelsen & Marie-Louise Vittrup Andersen, David Beattie, Ciarán Ó Dochartaigh, Yvette Monahan); voice and neurosis (Florian Roithmayr, Yoko Ono, Fabienne Audeoud); future culture and community (Kian Benson Bailes, Plastique Fantastique, Sam Basu & Liz Murray, McGibbon O’Lynn, Oisin Byrne). The exhibition also features Bob Quinn’s The Family (1979) – a documentary film on Atlantis that was originally banned by the national broadcast network RTE Television, deemed too disturbing for Irish audiences at the time.
A publication designed by Alex Synge / The First 47 wll be available at all venues. In addition to curatorial texts by Matt Packer, the publication includes three newly commissioned texts by Sue Rainsford that sound the primal scream through the narrative forms of lyric essay, transcription, and testimony.
They Call Us The Screamers is an exhibition that does not aim to illustrate Atlantis in Ireland, nor attempt to redress their controversy. Instead, the story gives way to a broader framework of practice-related ideas that develop from the countercultural psychology of the 1970s, seeking to reclaim an alternative future for self and society in today’s perspective.
Curated by: Matt Packer
Opening Events:
Friday 3rd November:
18:00: Performance by Plastique Fantastique, Nun’s Island Theatre
19:00: Official opening, Connacht Tribune Print Works
: 21:00: After Party: Electric
Saturday 4th November:
13:00: Performance by Vicky Langan and Maximilian Le Cain, GAC
14:00: Performance by Plastique Fantastique, Nun’s Island Theatre

Sunday, September 10, 2017

Arkady Feed @ MExIndex


Arkady Feed, my 2013 collaboration with Paul Hegarty, will screen this Wednesday September 13th at Temple Bar Gallery + Studios, Dublin, as part of this event:

Cityscapes: The ruins of the present
Studio 6 TBSG 6.30 pm, 13 September 2017.

A screening of Irish and Turkish works, followed by an informal discussion and reception at Studio next Wednesday 13 September at 6.30 pm, in Studio 6 Temple Bar Gallery + Studios, 5-9 Temple Bar, Dublin. MExIndex curator-in-resident Rana Öztürk will present a selection of Irish and Turkish films with her unique knowledge and experience of contemporary art and urban contexts in Dublin and Istanbul, having lived in both cities. The selection will explore the change and flux of cities as a result of their constant destruction and reconstruction due to changing infrastructural requirements, commercial imperatives and government policies.

It aims to highlight the resulting challenges and possible gains to urban environment and how that affects inhabitants and their surroundings as well as the individual and the collective memory of urban landscapes.

This is a selection of films that look at urban landscapes as sites of constant transformation, shifting grounds of contemporary life that is increasingly concentrated in cities across the globe.