U petak 28.02. u 20:30 u projekcijskoj sali Kino kluba Split umjesto prethodno najavljenog filma Notes On Marie Menken (2006) u režiji Martine Kudláček možete pogledati dva filma našeg gostujućeg programera Sebastiána Jiménez Galindoa. Radi se o city-film hibridnim video esejima “Las Brujas” (Vještice; 2018) i La Orden de los Presagios (Poredak znakova; 2018) U sklopu “Short(s) Petting” predprograma s početkom u 19:15 prikazujemo playlistu gostujućeg programera Sebastiána Jiménez Galindoa, selektora meksičkog Međunarodnog festivala eksperimentalnog filma i videa “CODEC”. Sebastianov odabir za ovu priliku uključuje radove slijedećih autora: María Paula Díaz, Aarón Sánchez, María Molina, Emilio Hernández, Laura Iancu, Ian Gibbins i David Finkelstein. Lokalni mjesečni prezentacijski program “ST CLIMAX MATINEE” za ovu je priliku reduciran na prezentaciju recentnog kratkog eksperimenta autora Petra Grimanija koji će biti prikazan neposredno nakon “CODEC” playliste. Ulaz na projekcije je besplatan, svi su dobrodošli.
Sebastian Jimenez Galindo – Las Brujas (2018)
LAS BRUJAS (THE WITCHES), along with LA ORDEN DE LOS PRESAGIOS (THE ORDER OF THE SIGNS), is part of the hybrid video-essay anthology film YOU’RE ON THE BALCONY TALKING ABOUT YOUR DREAMS (2018). LAS BRUJAS (2018) premiered at the closing night of the exhibit NOT THE FUCKING HELP at the Blank Space art gallery in Oslo, Norway. Fragments of the film were broadcasted on cable access in Los Angeles, Seattle, Portland and Chicago with Will Erokan’s underground TV project Here Comes Everybody. In 2018, YOU’RE ON THE BALCONY TALKING ABOUT YOUR DREAMS was selected in the UK-based online festival for punk and underground cinema Straightjacket Guerrilla Film Festival. LAS BRUJAS was featured at the 2019 edition of PLAY Semana de Video-Arte in Corrientes, Argentina. It screened twice at the Pugnant Film Series’ festivals for dada, auteur and underground cinema This is Not A ROBOT Film Festival and Penthimeron, in Athens, Greece. The film premiered in Mexico at the Sala de Arte Público Siqueiros in Mexico City during CODEC Festival Internacional de Cine Experimental Y Video. Written, devised and directed by Sebastián Jiménez Galindo. Original music by Brandon Bison & LA CLIKILLA DMC. Additional cameras by Olisa Amador. Edited by Humberto Cerda & Emir Tlachi.
Between the image and the word falls a shadow. Within that shadow, hidden from view, is a spirit that connects us all, beneath the skin. Collage allows an unexpected unfolding of meanings for images and concepts. Thought becomes witchcraft. A film becomes a dilligent accident. Towards a poetic of accidental cinema:
1. Today we are interested in narrative reality, that which is always written in quotation marks. Every affront against reality in the name of art is a smuggling of reality itself. Accidental cinema cannot happen with an expected result of what the final work will look like; it must witness its creation as it occurs. All art is autobiographical. All biography is made up of fragments.
2. Accidents might be conceived in different ways. An idea must be developed from its conception to its most viable end. You must be willing to find accidents and constantly create conditions for new accidents to happen.
3. The work grows towards the concrete from the uncertain. The final work is a decision made between an infinite number of possibilities on how the work could exist in its most contingent state.
4. Today our identity is a fiction of media and marketing. But the world seen from above is all fractals and an irresoluble flow; it hides within itself a stillness that we did not know before. At this moment we abandon the spectacle of ourselves in virtue of a new biography as a shadow-play on the wall or an inconceivable dream.
5. Accidental cinema is one which finds its origin in writing, but this writing must never be the cinematographic script. Accidental cinema must create a kind of impact that would otherwise be impossible to generate with any other medium. However, the film should not conform to any categorical sense stemming from cinema.
6. The ultimate goal of all art is to turn yourself from the inside out. No more univocal events. The accident will reveal a whole and unsuspected inner world; it will be a participant in all that we are and all we stopped being on the road. These films will be like the dawn in which you want to talk about everything that happens inside you or lean towards the balcony of the night. It will be the desire for honesty and unapologetic truths, to tell our story and then flee forever to the darkest clearing of the forest.
Sebastian Jimenez Galindo – La Orden De Los Presagios (2018)
LA ORDEN DE LOS PRESAGIOS (THE ORDER OF THE SIGNS), along with LAS BRUJAS, is part of the hybrid video-essay anthology film YOU’RE ON THE BALCONY TALKING ABOUT YOUR DREAMS (2018). It was published in issue #9 of the post-genre journal Ghost Proposal in July 2018. LA ORDEN DE LOS PRESAGIOS was first screened at the Muestra Internacional de Cine Experimental at the Cinemateca Ulises Estrella in Ecuador, with the support of the Experimental Film Society in March 2018. YOU’RE ON THE BALCONY TALKING ABOUT YOUR DREAMS was selected in the UK-based online festival for punk and underground cinema Straightjacket Guerrilla Film Festival. LA ORDEN DE LOS PRESAGIOS (THE ORDER OF THE SIGNS) first premiered in Mexico City at CODEC Festival Internacional de Cine Experimental Y Video, November 2019. Written, devised and directed by Sebastián Jiménez Galindo. Original music by Brandon Bison. Additional cameras by Olisa Amador. Edited by Humberto Cerda.
In any given system, meaning is generated within specific orders. The order of elements (or signs), however, produces meaning only from within such established systems. The order of the signs is not stable: it holds the possibility for multiple rearrangements and multiple variations of meaning. For example, the Spanish phrase “la orden de los presagios” is only one of the possible translations for “the order of the signs.” In each choice of words, meaning variates. I chose this title for the film as a reference to something I wrote while producing the film. I was comparing the body of a text with the human body. The inner organs correspond to “el orden de los presagios”, translated specifically within that context as “the order of forthcoming events.” For the film, however, I chose “signs” to translate “presagios” to allude to language, since, much like this text (which is actually quoted and rearranged throughout the film), “THE ORDER OF THE SIGNS” is an essay about writing and its multiple possibilities of action or incomprehensible secrets hidden beneath its surface. I then switched the article in Spanish from the grammatical male “el” to the female “la”, since “la orden” insinuates a second category of order, a group of people organized often for religious or occult motives. This was, above all, a note to my future self from my past self (another function of the act of writing), to remind myself of this personal intervention I made out of a sentence in the first Manifesto of Surrealism (1924): “dreams are a mystery cult and death is a secret society.” Although THE ORDER OF THE SIGNS is and was concieved from the start as a collage film, I see it bears more relation to Miguel de Unamuno’s concept of nivola as portrayed and discussed in his work Niebla (1914). Here, content is privileged over form, literary bodies are incarnations of ideas, and the process is prioritized over any preconception of a final result. Other writers drawing from the concept of nivola would approach their work as the character of Víctor Goti: “I will write as one lives, without knowing what will come next. I intend to include everything that springs to mind, however it might be. I invent the genre. I provide it with the laws that I please.” In this way, the thrust that drives you forward into making films (poems, novels, dreams, whatever) sets in motion its own order and decides how the work will be etched. With the freedom of materials into forms and unconquerable ideas into unrepeatable processes, the specter of literature continues to evolve in writing-based forms that resist categorization. The story is to redream it.
UKUPNO TRAJANJE PROGRAMA: 100 minuta
Sebastián Jiménez Galindo
Sebastián Jiménez Galindo was born in Mexico City, where he is currently majoring in Literature and Creative Writing. As a video artist, he’s interested in the dialogues between literature and film, words and images; beyond genre and in a constant state of flux and self-reference. He is the author of the poetry chapbook EXPERIMENTAL GARDENING MANUAL: Create Your Own Habitat in Thirty-Something Easy Steps (2018), translated from Spanish by Naomi Washer, fist published online in Asymptote Journal and edited by Toad Press, and the plunderphonic sound poetry and monologue collection VORACIOUS BLUE LOBSTERS (2018), published partly by the online literary magazine Scout & Birdie and the international surrealist collective Peculiar Mormyrid Journal. His essays and translations have been published on different online mediums and in print in Mexico, the United States, Spain and Canada. Sebastián began working on devised theater and performance projects in 2014 while still in college for acting in Chicago. Upon returning to Mexico, and heavily influenced by the style and ethos of Flarf poetry, he started making concept videos out of stolen clips from YouTube, as well as his own video poems with friends from Chicago. The first to be published was HERE WE HAVE NO BODIES (2016), shot in the city of Aguascalientes with an off-voice poem by actor David Stobbe. This piece marked an ending to previous exercises of appropriation and set forth new ways of approaching the moving image. From 2017 to 2018, Sebastián directed a hybrid film project resulting in two parts: LAS BRUJAS and LA ORDEN DE LOS PRESAGIOS (THE ORDER OF THE SIGNS). The latter was screened in Ecuador as part of the first Muestra Internacional de Cine Experimental with the support of Dublin’s Experimental Film Society, and it was published in issue 9 of the post-genre journal Ghost Proposal. LAS BRUJAS (2018) was screened at the closing night of the exhibit NOT THE FUCKING HELP at the Blank Space art gallery in Oslo, Norway, at the 2019 edition of PLAY Semana de Video-Arte in Corrientes, Argentina, and twice at the Pugnant Film Series’ festivals This is Not A ROBOT Film Festival and Penthimeron, in Greece. In 2019, Sebastián was one of the featured artists at the surrealist exhibition and book The Polymorph Bodyshop, hosted by Peculiar Mormyrid Journal. His video poem SHOPPING FOR A FACE AS SEEN IN A DREAM premiered with the Polymorph Bodyshop at The Bakery arts complex in Atlanta and East Village Arts of Birmingham in Alabama. It was then featured at the International Video Poetry Festival from The Institute for Experimental Arts in Athens and screened in the program PSYCHEDELIC CINE-REVOLUTION, curated by Darko Duilo and hosted at Kino Klub Split in Croacia. Sebastián has also collaborated on the underground TV project Here Comes Everybody, curated by Will Erokan, running on cable access in Los Angeles, Seattle, Portland and Chicago. Sebastián worked as curator for the international selection at the 2019 edition of CODEC Festival Internacional de Cine Y Video in Mexico City.
(01) María Paula Díaz – Mal de Ojo (2019; Chile) 13:00
(02) Aarón Sánchez – Replicas (2019; Mexico) 05:00
(03) María Molina – DIGITAL TRAUMA (and the Crystal Image) (2017; The Netherlands) 08:00
(04) Emilio Hernández – RawM.2.epc (2018; Mexico) 05:00
(05) Laura Iancu – Transmissions (Romania; 2019) 10:00
(06) Ian Gibbins – Homeless (Australia; 2017) 04:00
(07) David Finkelstein – Spiral Garage (USA; 2019) 14:00
UKUPNO TRAJANJE PROGRAMA: 59:00
BONUS: ST CLIMAX MATINEE:
Petar N.A. Grimani – SONAR – Di je DOMa? (2020) 02:13
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