A new frontier for Cindependent: Inside or Outside is Right is a block of experimental films curated by internationally recognized artist Anna Kipervaser, who has screened her work in festivals around the world. It’s a mind-bending block of visuals that artists were able to capture in moving pictures. See something totally unique Saturday afternoon. Total runtime: 98 minutes.
Inside or Outside is Right
Talk to Me
A short film that touches on the phenomena around the belief that plants can feel, hear and respond to different forms of communication. This film explores the theory of plant communication and the inter-connectedness some feel to plant life and it’s sense of place within our world; a world where signs of life are usually attributed to timely motion and auditory responses.
Stitch the Ruin
“Stitch the Ruin” is an experimental film that reflects on the conceptual, historical, and social concerns surrounding clothing production. In this film we see interconnected microscopic images of textiles gathered from Zagreb’s legendary flea market “Hrelić”, lists of shut factories, many named after the partisan heroines of the Antifascist Women’s Front. By focusing closely on details like stitching and tags, this work explores knowledge of time and labor and reflects on the specific industrial structure of feeling established by workers in these socialist factories.
Adjunct
A spider and a fly meet each other in the window of a university, while an adjunct instructor looks on.
Prearranged Signal
Time passed differently in those years, as in the dream of a stranger.
Patient
Fiction, reality, the private, and the performed overlap on a routine but emotional day at a medical center.
Evocation
A ritual evocation set on Dartmoor, through stone and water, the senses unfolding, drawing inward, and creating. The inner life embodied and manifesting as divine play, the Lila of Hindu philosophy, the Lila who was my teacher, now reaching down through the ancestral line in father and daughter. Shot on 16mm film. Film stills: https://ln5.sync.com/dl/da86495f0/qtfeur2w-tagk8bmn-2d7v5zuq-vv5n6g49
The Act of Not Seeing With One’s Own Eyes
I am a filmmaker. And a projectionist. Mostly I am a projectionist who doesn’t have time to make films. I projected so many images that my body got sick, severe chronic gastritis. I had to swallow a camera to see what was wrong inside me. The images that got me sick are the images that will help to make me well again. I did not make them, my body did. Through its automatic functioning, its convulsions, it produced images that you now see. Images, concrete and abstract, beautiful and disgusting, almost like one of Stan Brakhage’s films. But also the complete opposite. Not handmade but auto-poetic, not analog but the newest digital technology, not square but very wide, no subject here, no inner visions, just my inner self.
Cinehouette
Immateriality. Materiality. Metamorphosis. The digital eye attempts to retrace its genealogy to find the primordium of the image, revealed only through intra-observing. The Panasonic Lumix DMC-FZ300 then concerns its mirage as a self-reflexive mode of image production, the perceptibility and imperceptibility of auteurship, and movement/projection as a meaning-(de)maker and metonym/antonym of reality.
The Enlightenment
Listing dangerously into poetry, philosophy and sound art, Barber's new film (distributed by Video Data Bank) finds Yon and Payola in a Victorian conservatory. They are companionable, disoriented and petulant––they whip wildly through these disembodied states. Payola reads an excerpt of their experimental essay on the age of enlightenment.
Six Seventy Two Variations, Variation 3 (for Charles)
This is the third variation of the on-going 16mm film projector performance piece, "Six Seventy-Two Variations," for which I use a wood carving knife to scratch off the photographic emulsion of a looped film in order to produce the visual and sound as a live performance. This is a live film performance.