"Since its inception in 2003 Experimenta proudly showcases Indian Films that delight in eccentric form and abstract narrative. These are exciting films that display an independence from the constraints of the generic western avant-garde. Experimenta ultimately seeks to explore a new visual world and is an invitation to explore and support a movement to break the boundaries of what constitutes film art in India". – Shai Heredia, Festival director (from Experimenta 2005 catalogue)
Co-curators Karen Mirza and Brad Butler, no.w.here
Emma Hart, 2003 silent, colour, 11 min
"Going from my head to my toes I stuck strips of splicing tape to myself, taking off the top layer of my skin. I then stuck this down onto clear 16mm film leader, using 300 feet in total. It is my actual skin that goes through the projector. I have made a film of how much space I take up and this takes 11 minutes to watch" - EH
Nicky Hamlyn, 2003, silent, colour, 11n min
Reflections and refractions of lights, alternated in hard, optical flicker and gliding dissolves.
David Hall & Tony Sinden, 1973, sound, colour, 10 min
David Hall & Tony Sinden, 1973 sound, colour, 19 min
are two of 5 Films (View, This surface, Actor, Edge, Between
) made by David Hall and Tony Sinden in 1973. The films themselves explore the relationship between screen image and spatio-temporal illusion – the materiality of the screen in relationship to the image as representation. Ideas that each artist would continue to explore after collaboration. But further to these concerns, these films mark a vital phase in the process of both artists as they sought to create a body of work with intellectual rigour without sacrificing the imaginative and aesthetic qualities of art. “These films represent an important phase in our work in which we explored an area of film which would possibly locate a ‘broader aesthetic’ by relating avant-garde issues to the generally accepted framework of conventional film-making, and in some cases, specifically to narrative cinema” – DH/TS
Chris Welsby, 1974-1976, silent, colour, 2 min
This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera, once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in 'correct' colour. - Chris Welsby
Neil Henderson, 2004-2005, silent, colour, 9 min
3 Polaroid's develop to gradually reveal an image (premiered at no.w.here launch 2004)
Fade To Light
Nicolas Skykum Larsen, 2004, silent, colour, 1 min
Scratches applied directly onto the filmstrip gradually obscure an image of a candle. (premiered at no.w.here launch 2004)
Mirza/Butler, 2005, silent, (length tbc)
A work in progress shot during last years Experimenta film festival.
Terminus For You
Nicolas Rey, 1996 sound, b/w, 10 min
Shot in a Paris subway with high contrast stock - the film becomes a revelry of the chemical process of 'reticulation'.
Charlemagne 2: Piltzer
Pip Chodorov, 2002, sound, colour, 22 min
A precise notation of a concert by Charlemagne through a process of visual discordance:
• The 6495 notes played in the concert correspond to 6923 frames of super 8 film. No frames are left out or were printed twice.
• Speed of notes playing controls speed of frame succession.
• Discordant diminished fifths are translated into the following methods of visual discordance: flicker between negative and positive, between blue/yellow, between red/green, between different flicker frequencies, between clusters of b/w negative and monochromatic frames, between left right screen masking and mirror image printing, between crossfading between negative and positive images.