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Projekcija: Werner Nekes – Uliisses (1980/82)

WERNER NEKES – CINE OBSCURA ENLIGHTENING

 

U petak 17.01.2020. u 20:30 u projekcijskoj sali Kino kluba Split možete pisustvovati drugoj, zaključnoj prezentaciji odabranih filmova iz dugometažnog narativno eksperimentalnog isječka opusa njemačkog kinematografskog avangardiste Wernera Nekesa (1944-2017). Radi se o filmu “Uliisses” (Uliks; 1980/82), specifičnoj sineatskoj sintetskoj demonstraciji sirovog autorskog stila i prvom dugometražnom Nekesovom projektu koji je funkcionirao kao jedinstvena zasebna produkcijska cjelina. Narativno-eksperimentalnu osovinu filma tvore dramaturški dekomponirane sekvence utemeljene na klasičnom Homerovom tekstu, Joyceovom modernističkom eksperimentalnom romanu, te keltskom tradicijom nadahnutom monumentalnom igrokazu “The Warp” (Defekt; 1979-1982) autora Neila Orama (1938) zamišljenom kao cjelodnevna kazališna predstava čiji je središnji protagonist karakterno konstruiran prema arhe/prototipu slijepog pjesnika klasičnog perioda Philipa Bourkea Marstona (1850-1887). Teatarsko uprizorenje drame u režiji Kena Campbella (1941-2008) kao “work in progress” realizirano je pralelno s radom na Nekesovom filmu i sa gotovo istovjetnim castingom. Nekes se zajedno s autorima poput Heinza EmigholzaHelmuta HerbstaThomasa Strucka i Klausa Wybornya konvencijski raspoznaje i kao predstavnik tzv. hamburške škole filma utemeljene 1967. na temeljima partnerske produkcijske suradnje i neposrednog organiziranja filmske proizvodnje. Njegov najpouzdaniji partner bila je supruga mu Dore Oberloskamp (Dore O.), filmska eksperimentatorica fascinirana pejzažima, interijerima i portretima na kojima je temeljila kompleksne sineatske lirske kompozicije. Nekes je referentan i kao filmski didaktičar/profesor edukator (diplomirao je lingvistiku i psihologiju na sveučilištu u Freiburgu, te predsjedavao studentskim filmskim klubom u Bonnu), slikar, te arhivist filmske tehnike koja se koristila u primarnom periodu razvoja kinematografije. Kolekcionirao je predkinematografske optičke igračke kao što su thaumatropi, praxinoscopi, zoetropi, odnosno laterne magice, te voštane figure i sukladnu rekvizitu koja se nešto kasnije koristila na filmskim setovima ali i prilikom izvođenja praktične nastave filma na prvim javno organiziranim kinematografskim radionicama u Njemačkoj. Na temelju procjene ekskluzivnosti golemog dijela sakupljenog materijala nametnuta je i arheološka vrijednost cjelokupne Nekesove kolekcionarske ostavštine, a povremena izložbena gostovanja (Nekes je rođen u Erfurtu, a posljednje godine života proveo je u Mülheim an der Ruhru gdje se nalazi njegova zbirka) se organiziraju još od kraja prošlog stoljeća. Nekes je ujedno i jedan od utemeljitelja Filmskog biroa Internacionalnog centra za novu kinematografiju (ICNC) koji aktivno djeluje od 1980. u Rigi (Latvija, bivši Sovjetski Savez). Ovim katkim ciklusom u organizaciji Kino kluba Split objedinjena su dva Nekesova filma iz zrele, središnje stvaralačke faze: Diwan (Fiskal: 1974) i Uliisses (Uliks; 1982). U “Short(s) Petting” predprogramu ovoga petka s početkom u 19:15 možete prisustvovati prezentaciji drugog segmenta recentnih kanonski kodiranih eksperimenttalnih filmova koje je za ovu priliku kao gost programer odabrala Gwendolyn Audry Foster, eksperimentalno-filmska redateljica s interesnim ishodištima u ekofeminizmu, queer praksama spolnosti i klasnim studijima, te ujedno i profesorica sveučilišta Nebraska (Lincoln; USA). Za razliku od prošlotjedne liste kojom su dominirali filmovi konstruirani na osnovama digitalne interpretacije bazičnih perforacija filmske slike, ovotjedna prezentacija donosi pregled radova primarno kodiranih montažnim kolažiranjem i elementarnim animacijskim tehnikama čime smo unutar dva projekcijska termina, uz dodatnu integraciju odabranih edukativno-didaktičkih eksperimenata, pregledno sintetizirali sineatske projekte utemeljene na primarnim kognitivnim postulatima eksperimentalne kinematogafije. U pregledu profesorice Foster našli su se radovi Gine Kamentsky, Dee Hood, Phila Loariea, Mariane Dianele Torres, Justina Browna, Kathy Rose, Isabel Chiare, Adriane López Garibay, Sylvie Toy, Jutte Pryor, Wheelera Winstona Dixona, Billa Domonkosa, Francesce Fini i Jennifer Sharpe. Prezentacija odabira profesorice Foster uvod je u “Short(s) Petting” koncept za veljaču ove godine kada će nam se tijekom četiri projekcijska termina petkom kao gosti programeri sa svojim playlistama nove eksperimentalne kinematografije predstaviti: Michael Woods (USA), Nikola Gocić (Serbia), Sebastián Jiménez Galindo (Mexico) i Giorgos Efthimiou (Greece).

 

20:30

 

MAIN PROGRAM:

 

WERNER NEKES – ULIISSES (1980-82)

(1980-82 / color / sound / single screen / 94′ 00 / 35mm)

“Werner Nekes, one of the best known of the German experimental/avantgarde filmmakers, has attempted a stylistic tour-de-force in ULIISSES, which derives not only from James Joyce and Homer but from Neil Oram’s The Warp. The result, for the experimentally minded, is a fascinating transposition of visual and verbal motifs from the originals into what Nekes calls a ‘Homerian journey through the history of the pictures of light, ordinarily called photography and cinematography.’ He takes the brain as the creator of light (in this case Ulysses’ brain) and transposes his wanderings into a contemporary setting, i.e., West Germany in September 1980. Ulysses/Bloom becomes a photographer named Uli, Penelope/Molly becomes his model and Telemachus/Stephen becomes Phil. The ‘narrative’ of the film consists of analogues of Homerian episodes involving Calypso, Nestor, the Lotus Eaters, Proteus, the Cyclops, etc. Nekes concludes his film with visual storm, the culmination of what he describes as ‘Lighterature’ or writing with light.”

(K.W.: canyon cinema, film/video catalog 2000)

“This film is a Homeric journey through the history of film. Its subject is the mythological Odysseus of Homer, James Joyce’s Ulysses, and the synthetical Telemach/Phil figure of Neil Oram. Werner Nekes combines these three characters and unfolds their story in analogy to the history of Lichteratur, i.e. writing in light = film. Yet his main subject is visual language itself. Odysseus/Bloom is transformed into Uli the photographer. Penelope/Molly is his model, while Telemach/Stephen becomes Phil at the outset of Telemachia. The joining of their vitae occurs one day in September 1980 in the Ruhr area, just before the German elections.” (From the information leaflet the producer)… Nekes’ latest film provokes praise such as this in a very special way. In my opinion Uliisses is his masterpiece up to date. As an excellent historian of cinematography, Nekes has always taken care that his own inventions are correlated to history as such. In this narrative the instruments of cinematographic history are reflected upon in their influence on our perception of the world, as well as in their metaphorical realization. Uliisses offers a wealth in metaphors of light, as no other director has previously achieved.”

(Bazon Brock, Aug. 1982)

“Uliisses by Werner Nekes. The most bizarre of cinema trips of the last few years takes us from Dublin to the Ruhrgebiet from a cinematic location named Casablanca to a town, no less unreal, called Poona. We encounter both Groucho Marx and Helmut Schmidt, we meet the dispersed personell of Homer’s ‘Odyssey’, of James Joyce’s ‘Ulysses’ and of Neil Oram’s experimental play ‘The Warp’. These strata overlap and interpenetrate in a complex process. But ‘Uliisses’ (a pun on ‘it’s Uli’, Uli the photographer from the Ruhr, grandson to Leopold Bloom) turns out to be a picaresque and an erotic adventure as well. Dietrich Kuhlbrodt, the expert on the German avantgarde film scene, so basely deserted by official sponsorship and distribution, comments on ‘Uliisses’: ‘The object of the odyssey is pictorial language as such: learning to see and wanting to see. It ranges from cinematographic archaeology to playful innovations of the latest kind.’ Werner Nekes, a great magician and inventor, who is constantly devising new machines and optical tricks in his workshop in Mülheim, works with phosphoric dust, laser beans and computer-controlled sequences: ‘the world as cinematograph picture puzzle’ (Nekes). There is no film technique that does not occur in this movie. ‘U1iisses’ acquires attentive viewing – and this more than once. Possibly the cinema is no longer the right medium for film like ‘Uliisses’, Nekes said recently in Cannes The film’s details disclose themselves only after one has seen it several times on video disc or cassette. Nevertheless, ever a movie screen, ‘U1iisses’ remains an unusual, and at times a bewildering pleasure.”

(Hans-Christoph Blumenberg, Die Zeit, May 1983)

 

19:15

 

SHORT(S) PETTING

 

CANONIC EXPERIMENTAL CONVENTIONS VOL II

(“OUTSIDERS INSIDE”)

GUEST PROGRAMMER:

GWENDOLYN AUDREY FOSTER

(Experimental filmmaker as well as an author, artist, activist and Professor of Film Studies and Women’s Studies in the United States.)

GUEST PROGRAMMER`S STATEMENT:

“Outsiders Inside” is a collection of shorts made by insider/outsider video artist and filmmakers. Theses artists share a passion for making work that is uncompromised, non-linear, hand-fashioned and wildly creative in making highly personal films and videos that defy even experimental and avant-garde conventions. They are outsider artists looking inside as much as they are insider artists looking out at us. Their shorts leap off the screen with their wildly imaginative excesses as they redefine the art of personal filmmaking and video art, by trangressing borders and expectations.”

(Gwendolyn Audrey Foster)

(POWERED BY AGITATE 21:C WEB-ORIENTED GROUP)

  • Gina Kamentsky – Trauma Chameleon (USA; 2019) 02:50
  • Dee Hood – Transmitting and Receiving (USA; 2019) 03:38
  • Phil Loarie – Gravity Fountain (USA; 2017) 03:06
  • Mariana Dianela Torres – Ecos (Mexico; 2018) 01:40
  • Justin Brown – I Saw Her See You (USA; 2018) 02:14
  • Kathy Rose – City of Lost Moons (USA; 2018) 05:01
  • Isabel Chiara – The Woman Destroyed (Spain; 2016) 04:09
  • Adriana López Garibay – Don’t Mess with a Girl (Mexico; 2018) 04:39
  • Sylvia Toy – Dream Four (USA; 2018) 03:11
  • Jutta Pryor – EPI/SODE (Australia; 2016) 06:00
  • Wheeler Winston Dixon – The Twenty-Four Hour Day (USA; 2018) 06:00
  • Bill Domonkos – Endless North (USA; 2016) 02:48
  • Francesca Fini – White Sugar (Italy; 2013) 13:14
  • Jennifer Sharpe – Strange Sound III (USA; 2015) 05:34

UKUPNO TRAJANJE PROGRAMA: 64:04

 

Projekcije petkom u Kino klubu Split edukativnog su karaktera, namijenjene članovima i ostalim zainteresiranima, ulaz je besplatan, svi su dobrodošli…

 

Za Kino klub Split:

Darko Duilo