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Projekcija: Scott Barley – Shorts (2013-2017)

U petak 06.03. u 20:30 u projekcijskoj sali Kino kluba Split možete prisustvovati prvoj iz kratkog dvosegmentnog ciklusa projekcija autorskih filmova britanskog (Wales) eksperimentalnog redatelja Scotta Barleya (1992). Biti će prikazani njegovi kratkometražni filmovi realizirani u razdoblju 2013. – 2017. Za idući petak najavljujemo splitsku premijeru njegovog dugometražnog poetskog layer manipulation HD projekta “Sleep has her House” (2017). U predprogramu “Short(s) Petting” s početkom u 19:15 ovoga petka biti će prezentiran prvi dio specijalne “concept in progress” playliste naslovljene “Cine-feminizm”, realizirane uz pomoć koselektorice Evelin Stermitz, austrijske video/performance/photography umjetnice i pokretačice “ArtFem.TV” projekta. Biti će prikazani filmovi u režiji Kelsey Brod, Evelin Stermitz, Grace Graupe Pillard, Ilaria Pezone, Helena Wadsley, Isabel Pérez del Pulgar, Jefferson Kielwagen, Lucinda Luvaas, Rachelle Beaudoin, te Zoe Anastassiou & Mark Blickley.




Scott Barley – Shorts (2013-2017)
Nightwalk (2013) UK/6 min/DV/B&W
Blue Permanence/Swan Blood (2015) UK/6 min/DV/Color
Hunter (2015) UK/14 min/DV/Color
Hinterlands (2016) UK/7 min/DV/Color
Closer (2016) UK/7 min/DV/Color
Womb (2017) UK/17 min/DV/Color


“Darkness has always been a prerequisite to truly enter the world on the screen, and its importance in granting experiential resonance cannot be overstated. In the auditorium, the lights go down. We wait in a darkened room for a world of light to open up to us, and while our body may remain in our seat, the incorporeal essence in all of us wades toward the flickering light, haunting it, as it haunts us. Our souls invest, they search in curiosity and hunger in the images and sounds. Cinema is a symbiosis of haunts. We enter it as it enters us. To enter a film’s world is a very spectral thing. To truly submit to the cinema experience is like letting the waves of the ocean crash over you and not be afraid of drowning. To be in that darkness and let the film envelop and pervade us is the very definition of surrender. To give oneself up to the other.

The importance of darkness and the underexposed image also come from my desire to bring a tactility to vision – to go beyond figuration, beyond the object, and to feel the liminality between light and darkness itself as its own subject, to feel the weight of what is known and what is unknown. Cinema’s strength can also be its weakness. With so much of cinema’s power coming from its unique distinction in the arts as a bastardization of two arts—image and sound—creating vivid audio-visual scenarios, often there isn’t enough room for the spectator to dream, to imagine, to question. Darkness, obfuscation—both visual and metaphorical—can assist in creating an environment where one’s imagination can coexist and harmonize with the film’s body, and create an utterly unique, polysemic experience for each individual, fulfilling that symbiosis.

Darkness is a texture, a veil, mystical, an immaterial hinterland. It is the backwoods from which everything enters and leaves. We have all at one time or another felt like we have at least for a moment seen something passing through beyond that veil, where we have stared into deep darkness—true darkness—and felt our optical nerve pushed to its limits, seeing strange lights emanating, dancing, from seemingly nothing, beyond the boundary of our vision, never quite sure if it is our eye or something else that is part of us, within us, yet unknown to us, permitting us a witness to it.

Darkness allows the mind’s eye to open, for our imagination to wander. It recalibrates and nurtures our relationship with our body, our senses, and the landscape beyond us. I want to create a world that makes the known feel unknown again, allowing that fragile, profoundly intense pulse of childlike curiosity that beats inside us to take hold once more. Darkness allows us to surrender ourselves to that mystery, that wonder, and to swim in it, and reclaim our profound and even paroxysmal relationship with ourselves and what lies beyond ourselves; to fearlessly drown it is infinite pool.” 

Scott Barley is a British artist-filmmaker from South Wales, UK.

His work has been screened in Europe, Asia, and The Americas, including The Institute of Contemporary Arts London, BFI Southbank, Sheffield Doc Fest, Doclisboa, Karlovy Vary IFF, Dokufest, EYE Filmmuseum, Singapore Art Museum, Vancouver International Film Centre, Museum of Modern Art Rio, Museum of Contemporary Art Buenos Aires, and Fronteira International Documentary & Experimental Film Festival.

His work is primarily concerned with the Anthropocene, nature, darkness, cosmology, phenomenology, and mysticism, and has been associated with the Remodernist and Slow Cinema movements. His filmmaking and imagery has been compared with the sensibilities of filmmakers, Béla Tarr & Ágnes Hranitzky, Maya Deren, Aleksandr Sokurov, Stan Brakhage, Peter Hutton, Jean Epstein, and Philippe Grandrieux, as well as the artists, J. M. W. Turner, Caspar David Friedrich, Anselm Kiefer, Michael Biberstein, and John Martin.

His visual practice and research has been used as educational material on undergraduate, postgraduate, and doctorate courses at UCLA Arts, University of Paris III: Sorbonne Nouvelle, Falmouth University, Université Libre de Bruxelles, University of Illinois at Chicago, EICTV (Cuba International School of Film and TV), Winchester School of Art – University of Southampton, Karlsruhe University of Arts and Design in Germany, University of Colorado Boulder, and SUNY.

Since early 2015, Barley has exclusively shot his films on iPhone. His short film, Hinterlands was voted one of the best films of 2016 in Sight & Sound’s yearly film poll.

His first feature-length work, Sleep Has Her House was released in early 2017, garnering universal acclaim, and winning Best Film – Official Jury award at Fronteira International Documentary & Experimental Film Festival, in Goiânia, Brazil. It later received nominations in Sight & Sound’s 2017 and 2018 film polls, as well as in Sight & Sound’s ‘The best video essays of 2018’. The film also received nominations in Senses of Cinema’s 2017 poll, and The Village Voice 2017 film poll for Best Film, Best First Feature, and Best Director.

Danish film critic, and former director of the European Documentary Network, Tue Steen Müller has described him as the “Anselm Kiefer of cinema”.

More about Scott and his projects on the




(01) Kelsey Brod – In the Hot Seat (USA; 2017) 05:04

“Kelsey Brod is an artist and critical theorist currently working on her PhD in the Computational Media, Arts and Cultures program at Duke University. Brod’s video, performance, net projects, and prints explore dynamics of gender, whiteness, and national politics in and through technological phenomena. More recently, her work explores human-machine reasoning and their various methodological boundaries drawn by data bias and mathematical limits. Brod’s research and writing have focused on early imaginations of the internet by women, machine vision, and structures for perceiving performance art.”

(02) Evelin Stermitz – Women in War (AU; 2010) 03:05

“Working on media and new media art projects by using different media like photography, video and net, including installations and conceptual works. The focus of art work is on gender based female and socio-cultural topics. The issues of projects are about gender, role models and the gap between man and woman referring to the theory of Jacques Lacan in terms of “the Other” and the performativity of the body by Judith Butler. An important task is the female body and the outgoing connection to created symbolic meanings of gender in history and nowadays. A main emphasis is on performative works and post-structuralist feminist art practices. In media theory the main interest is on the representation and approach of the female body in everyday media and media art encouraged by Barbara Kruger’s work “Your body is a battleground.”

(03) Grace Graupe Pillard – Birthday Sadness Supreme Court USA and Women (USA; 2018) 02:03
(04) Grace Graupe Pillard – Grace Ranting About President (USA; 2018) 00:53
(05) Grace Graupe Pillard – Trump Stress and Gum (USA; 2019) 01:19

“Grace Graupe-Pillard is an American artist from New York City, USA. She was known for her feminist stance during the 1970s. Later her paintings dealt with wider political issues, such as the Iraq War.”

(06) Ilaria Pezone – Asmrrrr Molesto (IT; 2019) 13:16

“Just as painting covers a multitude of genres and styles, without ceasing to be painting, video art has a versatility of its own. From electronic manipulation to video performance, from a slide show to a short film, video often has more in common with painting then it does with motion pictures, with film, as it addresses the sensory rather than the intellectual, the affective rather than the rational. It’s not easy sometimes to define the subtle differences between video art and short film. The work by Ilaria Pezone ancora gravità (non interessante) is one of these elusive cases.”

(07) Helena Wadsley – Breathe (CA; 2018) 04:55
(08) Helena Wadsley – Crimson Cord, Mouth (CA; 2018) 01:58

“Helena Wadsley is a Vancouver-based artist. She studied Visual Arts and Art History in Vancouver, Montreal, Saskatoon and Glasgow. Her work has been shown in Europe, across Canada and the US. Her video work has shown in Italy, Vancouver, Toronto and was part of the Wayfinding Film Festival that travelled across the US in 2014 and 2015. In 2015, she had a solo show of paintings in BC, participated in several group exhibitions, and took part in the Clipperton Project Floating Lab in December 2015 in the Dominican Republic. In 2016, she has an upcoming solo exhibition of drawings in Vancouver and is participating in the prestigious Arctic Circle residency/expedition in June. She teaches painting at Langara College and Emily Carr University and runs a summer artist residency that she founded in southern Italy.”

(09) Isabel Pérez del Pulgar – Galatea (del Cyborg a la Nueva Carne) (ES; 2018) 03:50

“Creative evolution has been a long journey from the beginnings in the classical pictorial training to take the performance and video as expressive languages, without abandoning any other discipline that supports the work. The works are conceived as a continuous fresco, divided into series and autonomous projects. Conceptually, it is an inner journey marked by one’s own Vital experience. A search for knowledge from one in the other with the intention of investigating human nature and more concretely, in the feminine nature. Under the vision of fractured realities as mirrors in which the image is reflected subjective Subjectivity dependent on individual perception, the very fragile and ephemeral nature of the organic structure that Arms the body and communication established directly with the conscience. The body subjected to contradictory tensions and confronted between a reality that constructs it as a productive and consumerist element and the own conscience and belief of what It is like being human related to the environment. The idea of identity, the idea of the mirror as a metaphor for that duality and eternal question.”

(10) Helena Wadsley – Hermine (CA; 2018) 02:00
(11) Jefferson Kielwagen – Lost Sheep (SR; 2019) 07:26
(12) Lucinda Luvaas – Shanhafrom Meditations (USA; 2017) 01:45

“Luvaas has no interest in recording exactly what she sees, but rather wants to convey the impressions of what she sees, wanting to craft the mood and feeling of a scene or event. She has developed a new and innovative technique called: “Imprinting .” This method of working has required many years of experimentation to perfect. It is a meticulous process that is a hybrid between painting, relief techniques and printmaking. It took much trial and error to find the right tools for each step of the process such as: sharp scapels for very intricate, delicate cuts, japanese knives, and italian sputulas of all shapes and sizes. The hard-edged look is painstakingly hard to accomplish…much can go wrong. For instance, there are many grid-like sections that are laid out on the wood panel, and they must be perfectly aligned and seamless. All of the sections must be secure while imprinting, so that the artist can produce a clean, crisp result. This can be very difficult at times, especially when the sections are delicate and fragile.”

(13) Evelin Stermitz – Rose is a Rose (AU; 2019) 03:52
(14) Rachelle Beaudoin – All Kick Counts (USA; 2018) 03:30

“Rachelle Beaudoin is an artist who uses video, wearables, and performance to explore feminine iconography and identity within popular culture. She attended the College of the Holy Cross and holds a Master’s degree in Digital+Media from Rhode Island School of Design. She has exhibited at Intimacy: Across Digital and Visceral Performance Goldsmiths London UK, the University of Lapland in Rovaniemi Finland, Low Lives 3 and Itinerant Festival of International Performance Art, Queens NY. She was a Spring 2013 Artist-in-Residence at Anderson Ranch in Snowmass CO. She was a Fulbright artist-in-residence at quartier21 in Vienna, Austria in 2014. In 2015, she was a Clowes Fund Fellow at Vermont Studio Center. She currently teaches at the College of the Holy Cross in Worcester MA.”

(15) Zoe Anastassiou & Mark Blickley – Real Realism Art Manifesto for the Disenchanted (USA; 2018) 06:41
(16) Zoe Anastassiou & Mark Blickley – Meconium Aspirations (USA; 2018) 08:43

“Mark Blickley is a widely published and produced writer and proud member of PEN American Center and the Dramatists Guild. He is currently writing a one-woman show for Zoe about the life of Baroness Elsa von Freytag-Loringhoven titled Mama Dada. Zoe Anastassiou is an actress, writer and Associate Artistic Director of Helluva Theatre Company. She has performed onstage in England at Shakespeare’s Globe and the Old Vic Theater and is currently performing at the Dublin International Gay Theater Festival.”


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