Tuesday March 20
18:00
Freaks
In Advance off Broken ARM has
of Lee Adams
(1995, video, 3 ')
New in France
Drawing its title from an objet trouv3e of Marcel Duchamp, In Advance off Broken ARM has was created like a homage to the experimental scenario writers pioneers of surrealism. Lee Adams is the initiator of the festival Sex mutants. “Through a series of melancholic persons and often visceral performances, energy of the close friend until the épique one, I tried to examine the position and the relation between the performer and the public, questioning the notions of true/and fictional performances of ego, the otherness, the difference, the kind, the sex, the love, the pain and the suffering, the transcendence and the policies of the body in relation to the culture and the capacity. ” L.A (distribution: the people which miss)of Ulrike Ottinger
(Germany, 1981, video, 126 ')
The model of this superfreak, the freak of the title, it is Orlando, of the novel of Virginia Woolf, which achieves the ancestral dream of the man androgyne; and like Orlando of the novel, it is not subjected either in the passing of time, which is enough to transform it into monster of experiments… The department stores of Freak orlando are the temple of the promises, the point of meeting of the faithful ones, in which the public life is regulated according to given liturgies where the standards are fixed. Frieda Grafe, Süddeutsche Zeitung, 7. /8.11.1981.
The films of Ottinger that certain historians of the cinema include in the category of the cinema queer propose a renegotiation of subjectivity and exceed the usual debates around kind and of the sexuality of the traditional feminist theory. As much of Queer films, its work attaches as their importance to the visual pleasure, excess, the phantasm and leaves as the spectator enjoys all the possibilities of the narration. However, in spite of the illusion of continuity and/or unit which we experienced by seeing its films, Ottinger creates alive tables and sagas with episodes which further go than the possibilities from the performance and the representation of the kind. Its films are an hybrid between science fiction, films of adventure, documentary and phantasms which were entretissent in nonlinear narrations. In the work of Ottinger, reality is only one will have. Each image is a surprise and the films function like under-texts of various topics, since the social prejudices until ostracism, from the ritual ones of being able and death. Its reappropriation of an esthetics of narcissism since a feminist speech makes its work very unusual (…). Freak Orlando, includes a full court strange characters and functions almost like a road-movie have-history. They are theatrical compositions where sometimes one plays with old forms taken elegantly with materials of last generation. Verbal descriptions, visual memories, and a strong pictorial and kinesthetic sensitivity are linked to build tables of landscape, dwellings, environments, and scenes. (Explorafoto 2006, transl. K.Q.)
Judith Cahen & Alberto Sorbelli
In their presence
The sexual revolution did not take place of Judith Cahen
(France, 1998,35 mm, 120 ')
Of a resistance sulky person and distressed to the female ideal while passing by a turbid interrogation on the truth of the kind and the possibility of its training (Anne Buridan - alter ego of the director - trying to learn what it is qu “'to be a woman” near a “man-woman” alias Alberto Sorbelli) to a questioning on the nature of the desire, or the dilemma between glorious and organic bodies, the autonomy and the property of the body, the Queer reasons which live the cinema of Judith Cahen are legions and populate this brilliant interrogation on the factory of the collective, and on what would be a sexual revolution. K.Q. & AD INTERIM.
by Judith Cahen
(2007, video, 15 ')
New
Alberto Sorbelli, artist performer, have work until today in the field of the visual arts (museums, galleries) with proposals which highlighted the relation between the spectator and work. Known as of beginning of the year 90 by performances, putting in scene three characters: the secretary, the prostitute and attacked. In 1994 with the MAM of the Town of Paris, its Club winter of the love is censured because of a “suspicion of real prostitution” of the artist. Catherine Millet reconsiders in this maintenance the exclusion of Alberto Sorbelli.
The set of themes of the “disguised body” enables me to evoke the dressing-up in the direction where I practise it: I try to include/understand in what “to disguise me”, it is “to become”. What disturbs us in the idea of the dressing-up, it is that the company prefers what is distinguishable in a kind, it remains about it with the interpretation of a role without working on the identity. (…) Some thought that I denounced the commercial system of the medium of art by showing him his reflection. What obstructed them more, it was to feel denounced by an image which they refused, that of a large vulgar whore. Whereas me, I was a sublime whore! I was not in the demonstration but in the assertion of my freedom, celebrating this individual who is neither a figure unworthy nor an object of contempt. In all my work, I do not denounce, I do not criticize, I celebrate. In my social hierarchy, the prostitute is indisputably at the top of the pyramid. (…) Alberto Sorbelli, maintenance with Chantal Hurault to be appeared in *Alternatives Theatrical, n° 92, March 2007.
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Proclamation for a cinema of the transgression
 “All the values must be changed. Nothing is crowned. All must be questioned and re-examined in order to release our spirits of the faith in the tradition. The intellectual growth requires that one take risks and that changes occur in the political fittings, sexual and aesthetic, it does not matter which disapproves. We propose to go beyond all the limits given and prescribed by the taste, the morality and any other traditional system of value which connect the spirits of the men. We pass and go beyond the limits of the screens and the projectors to go towards a state of “expanded cinema”.
Us violins commands and the laws which annoy the public to kill the ritual ones of circumlocution and to propose to break all the taboos of our time while sinning as much as possible. There will be blood, shame, pain and extase, all that in a manner that nobody still imagined. Nothing will leave there unscathed. Since there is no life after death, the single hell is the hell of the prayer, of obedience to the laws, the degradation of oneself vis-a-vis the figures of the authority, the single paradise is the paradise of the sin, of the rebellion, to have pleasure, to kiss, learn from new things and to break the rules as much as it is possible. This act of courage is known as a transgression. We propose the transformation through the transgression - to convert, transfigure and transmute into a higher level of the existence in order to approach freedom in a full world slaves ignoramuses. ” Nick Zedd (translation K.Q) |
The “cinema of the transgression”, whose proclamation was written by the realizer Nick Zedd and whose paragons in the New York Underground of the Eighties were also Richard Kern or Lydia Lunch, wanted to reconcile “Andy Warhol, the movement hobby-horse and the punk attitude”, and found, in its dressings-up, mutilations, ritual S/M, of filiations with the cinemas Queer de Jack Smith, John Waters, Bruce LaBruce, or with of Actionnistes Viennese, and met especially in the performer, musician and writer Jean-Louis Costes a French follower. Does the Queer cinema belong more to the register of the transgression or the production of subjectivitys and alternative sexualities? This program proposes some lines of thinking with the crossing of these cinemas.
(theorist of art, professor at the university Paris VIII, around “Art and identity”)
of Kurt Kren
(1964, 3 ' 57, 16mm)
Perf: Otto Mühl
The first collaboration of Kren with the Action Group, it turns 82 plans whose axis of vision is the genitals of the model and assembles the whole according to a preestablished plan. The performances impressed of sex and violence carried out with the beginning of the year 1960 per Otto Mühl (inaugurating the passage of the Painting Action to the direct performance with its Materialaktionen), Günter Daughters-in-law, Rudolf Schwarzkogler and Hermann Nitsch (founder of the Theatre of the Orgies and the Mysteries), interfering floods painting, skins of animals, performers naked, scarifications, excrements and other body secretions kept will have scandal and their perfume of interdict to them, until in being almost invisible. Breaking up the gestures more the symbolic systems and bringing them back the ones to the others by a very fast alternated assembly, Kren [Austrian scenario writer experimental which filmed in 16mm several actions of Günter Brus and Otto Mühl on their request] restores the frenzy of the ritual. Benjamin Thorel, Annexia
(1985, 16 mm, 6 ')
Mara Mattushka, scenario writer fixed at Vienna of Bulgarian origin, practises a cinema of monsters, populated echoes with the actionnism. The cathartic violence of its work, whose political dimension is, here, dependent, in a palpable way, with the alienation of work, is dealt with by Mattushka, under the features of sound alter ego androgyne, Mimi Washout. KQ
of Usama Alshaibi
(The United States, 2004,6 ')
Blood of shame? oppression? pleasure? In this worrying and enigmatic film, in the vein of a pornography surrealist, a creature, with the porcelain dye and wrapped in a gauze, wavers and projects blood out of its anus.
Usama Alshaibi is a plastics technician based in Chicago, of Iraqi origin, author in particular of the Muhammad feature film and Jane and is the founder of Z Festival in Chicago
KQ & AI
of Catherine Corringer
(France, 2005, Béta SP, 20 ')
Day' S Night is what one could call a “film performance”.
Anchored in a particular sadomasochistic universe, having recourse to none the instruments usually used in these practices, it explores some childish and antiquated phantasms such as the interrogation on the sexuation, the body, the play with food, the urology or the myth of the devoration. (Catherine Corringer)
(2003, video, 38 ')
In its disproportion, Holy Virgin Cult, opera-porn-social, demolishes and indicates, in an upsetting manner and like anthropological, the limits of the human one.
“The scene is a place of transgression symbolic system - and if one uses this space simply to puff out yoghourts, it is not the sorrow. One does not need a symbolic system place to make authorized things. One needs a symbolic system place especially to represent the crime, so that the catharsis operates. ” Art irremediable (Jean Louis Costes, interview of Matthieu Blestel and David Sanson for Movement - 2005)
Art and institution, place of art and scene symbolic system as possible of the transgression are also open-ended questions for this program.
KQ & AI