digitale file, 35mm, 16mm, DCP
Thu 18.05 20:30 tot 22:30
€5 (standaard) / €3 (reductie)
X-Ray: Laboratorium verkent de grenzen tussen kunst en wetenschap met een selectie van korte films waarin de filmmakers op zoek zijn gegaan naar inspiratie, instrumenten en methodieken in het laboratorium. Met intrigerende beelden, tussen het natuurlijke en het kunstmatige, het organische en het anorganische, varieert deze filmavond van chemische reacties tot ruimteonderzoek.
Deze editie van X-Ray gebeurt in samenwerking met LABORATORIUM, het experimentele laboratorium voor kunst / design en biotechnologie bij Atelier Mediakunst.
Deze films staan alvast op het programma:
Parabola (Mary Ellen Bute & Ted Nemeth, 1936-38, 9')
“Sculptor Rutherford Boyd worked in collaboration with Nemeth and Bute, whose NYC production facilities were placed at his disposal. Filmed, frame by frame, in a sequence of stills that varied the arrangement of sculptural pieces under controlled illumination, Parabola introduced the potential of a new design technique.” —Douglas Dreishpoon
Entstehung von Wirbeln bei in Wasser bewegte Körpern (O. Tietjens, L. Prandh, 1925, 10')
Black Rain (Semiconductor, 2009, 5')
Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME’s (coronal mass ejections) heading towards Earth.
Working with STEREO scientists, Semiconductor collected all the HI image data to date, revealing the journey of the satellites from their initial orientation, to their current tracing of the Earth’s orbit around the Sun. Solar wind, CME’s, passing planets and comets orbiting the sun can be seen as background stars and the milky way pass by.
As in Semiconductors previous work ‘Brilliant Noise’ which looked into the sun, they work with raw scientific satellite data which has not yet been cleaned and processed for public consumption. By embracing the artefacts calibration and phenomena of the capturing process we are reminded of the presence of the human observer who endeavours to extend our perceptions and knowledge through technological innovation.
Energie! (Thorsten Fleisch, 2007, 5')
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
Commingled Containers (Stan Brakhage, 1996, 4')
Atlas (Anouk De Clercq, 2016, 7')
Exploring the surface of a single frame from a black and white 16mm film through an electron microscope, Anouk De Clercq ponders over ways of seeing and the nature of cinema.
Spatiality being one of the key concepts in the work of Anouk De Clercq, in Atlas she wants to go as deep into space as possible, at the tiniest scale, and see what insights we get from this other perspective on things. This atlas is a guide in a macroscopic tale of the world.
Faro (Maria Boto, Elias Heuninck, Laboratorium, 2017, 3')
#43.6 (Joost Rekveld, 2013, 12')
Giraglia (Thierry Vincens, 1968, 12')
Silent Springs (Erin Espelie, 2011, 14')
"As Silent Springs, which borrows its title from the work of biologist and conservationist Rachel Carson, highlights the deleterious effects of pesticides, it indicates how these amphibians, among the oldest forms of life on earth, are threatened by change that comes too quickly. All that may remain, the film seems to suggest, are dusty slides seen in early scenes through an antique microscope.
Like the series of stony faces spouting water, their neatly labeled procession freezes an image of rarefied life." (Genevieve Yue, Reverse Shot)
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