Kaleidoshock #3 // Atelier MTK [Grenoble] Expanded Cinema 16mm @ Associazione UNZA! - Ciclofficina Nord Milano - Niguarda, Milan [23 novembre]

Kaleidoshock #3 // Atelier MTK [Grenoble] Expanded Cinema 16mm

21:00 - 23:50

 Pagina di evento
Associazione UNZA! - Ciclofficina Nord Milano - Niguarda
Via Graziano Imperatore 40, 20162 Milano
Il quarto appuntamento di Kaleidoshock vede ospiti di UnzaLab 4 filmmaker dallo storico Atelier MTK di Grenoble con 4 live-performance per proiettori 16mm:

>>> WAVE BEHAVIOR (Comportement d’onde) by Lewis and Cloïc
Film without film — sound and light 2 x 16mm projectors — 30min
>>> 40 AW — by Lucrecia. 16mm film, color and b/w — 3min.
>>> STROMBOLI LEFT HAND by Riojim — projector film performance 1 x 16mm projector — 25min
>>> P.V.E.: PRONOSTIC VITAL ENGAGÉ by Clovis Lemaire-Cardoen, Joyce lainé, Loïc Verdillon and Riojim — 4 X 16mm projectors film based on the Lumière’s Brothers Autochrome process. Colors film made with potato starch — 25min.

Inizio proiezioni ore 21.30 — Ciclofficina Unza (si entra dal retro). Ingresso con Gradita Offerta per i Filmmaker

Improvised performance for two 16mm projectors played by Lewis & Clovic.
The projectors become animals of film-free projection. The raw light, arriving 24 pulses per second, is ceaselessly sculpted to create form and movement. We play with pre-cinema for a Space-Noise Opera with optical manipulation and light beam trituration… an audio-kinetic fiction of four hands.
«Simulacra are sent and dispersed in every direction, but because we see only with the eyes, it occurs that, where we turn our gaze, it in that moment that all the objects strike it with form and color.
In that instant the emitted image pushes forward and advances the layer of air between it and the eyes… this chased layer of air thus bathes our pupilles and passes on. All of this must naturally occur with a prodigious rapidity. »


40 AW
2016, 3min, n&b et couleur, silent (text recited out loud before projection)
both filmed and found footage, all
inspired by this poem by Daniel Owen
40 active warheads took
their first steps captured
all thin cities rung
by terror's sweats and oaths
looked around the goat rain
for a keychain- real rabbit's
foot on the line your voice
made me feel love i put
my love inside my mouth
sauce and fried shrimp
bread and smoke


Performance for a 16mm projector by Riojim.

In the black beating of shutters things penetrate, ghostly, as islands which have not received their name yet.
A 30 minutes performance in which RIojim plays with his 16mm projector in an instrumentist gesture, creating deep breath out of a frenzy chromatic flush of celluloïd, the projector singing it's uncanny, sometimes funny, 50 hertz lullaby.
Riojim works at Atelier MTK in Grenoble — France, where he teaches DIY film processing. He is particularly attracted to abstract animation, the pleasure of physically modifying images on the film via twisted and other chemical treatments frowned on by professional labs.
The material produced in the laboratory becomes a work of improvisation integrating all the parameters of projection. By means of prepared projectors, he applies severe treatment to the projector and plays with the film and the homemade optical sound on film to create a real visual music.
Involved in experimental film for 20 years, Riojim have been a member of the 102, a venue dedicated to experimental arts, hosting most of the foremost improvisers of new music. It is natural that his art culture and sensibility turn him toward the practice of improvisation which he understand as a quick and profound reaction to events where each performance is constructed for a particular time and place. Citing Jim Denley, he also believe that exploring the moment of creation — when an idea, feeling or gesture is first expressed — is to take part in the most exciting adventure possible, not only for the artist but also for the audience!


Film for 4 16mm projectors — 25min — sound.
By Clovis Lemaire-Cardoen, Joyce lainé, Loïc Verdillon and Riojim.

Images are made of colored potatoes starch.
We juggle the constraints of the unique, fragile image, difficult to reproduce and almost anti-cinematographic, of the Autochrome process invented by the Lumière Brothers, to adapt upon supple film.
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