Archives de l’auteur : yannbeauvais

DU NUAGE AU PÉNÉTRABLE, UNE INCURSION DANS LE TRANSCINEMA,

in Gruppen, Paris 2017

L’objet de cet article envisage les relations entretenues par certains plasticiens brésiliens en regard de ce qui fait cinéma. Il ne s’agit pas tant de dresser une histoire que d’esquisser une approche en fonction d’usages du cinéma qui s’inscrivent en dehors de l’économie du spectacle traditionnel. Pour ce faire, nous utiliserons le terme de transcinema, qui désigne au plus proche : des formes et des usages contemporains du cinéma tel que les ont définit Kátia Maciel1 ou Andre Parente, mais qui surtout, favorise la production d’autres ramifications selon une archéologie ouverte de l’expanded cinema. Dans cet abord, trois figures sont privilégiés : Abraham Palatnik, Helio Oiticica et Lygia Clark.

1Katia Maciel : Transcinemas texte réunis et présentés par Katia Marcel, Contra Capa, Rio de Janeiro 2009

COUVOMB2017-copie

DE L’IMAGE COMPOSITE

in Esthétique de la modernité Pour un cognitivisme non-linéaire, sous la direction de Louis-José Lestocart, Edtions Hermann, Paris 2017

Comment les images composites transforment autant nos modes de perception que de conception de l’image. La question des images composites est ancienne, mais l’usage cinématographique et vidéographique de ces images se jouant de notre participation, s’est peu à peu généralisé jusqu’à décider, via des logiciels de traitement des images, de « l’apparition d’un nouvel audiovisuel composite, structuré et complexe ». photo couv

Interview with yann beauvais

In this interview with Yann Beauvais we speak about the relations between film and text. Non-narrative aspects of text in filmmaking, text as image, and try to establish a minor history of film text pieces.

http://desistfilm.com/q-a-yann-beauvais/Frame_Spetsa_img2

Entrevista com yann beauvais|Hambre Espacio cine experimental|
Ler online/baixar em português:

http://hambrecine.com/2015/10/09/escrevendo-imagens-entrevista-com-yann-beauvais/

Entrevista con yann beauvais |Revista Laboratório |
Enlace para leer online en español:

http://www.laboratoriodeescrituras.cl/escribiendo-imagenes-entrevista-con-yann-beauvais-para-txt-texto-de-cinema/

Baixar/bajar/download: 

https://independent.academia.edu/textodecinema

http://desistfilm.com/

ImProVISatioN, l’aCciDeNt MaîTRisé

 in Hypalampuses Hemereas à la pointe du jour Gruppen, Paris mars 2016

un article autour l’improvisation en cinéma

L’improvisation en cinéma, et principalement dans le champ du cinéma expérimental, implique toute une série de questions relatives à différents moments qui sont constitutifs de l’expérience du film. Il faut identifier les étapes distinctes et les moments spécifiques qui interviennent dans la réalisation et la diffusion d’un film. L’improvisation s’épanouit à chacune de ces étapes, mais elle n’induit pas toujours les mêmes types de pratiques cinématographiques….

Capture d’écran 2016-04-13 à 10.31.41

Baillie/Sharits: Mind the Gap, it is not were it appears to be

http://www.lafuriaumana.it/?id=443

La Furia Umana 26 dez 2015

When Toni d’Angela asked me to write a paper on Bruce Bailie and Paul Sharits , I was wondering what on earth could have preside such a choice, my text was supposed to be part part of a small studies about the eye of Bruce Baillie and the mind of Paul Sharits.

And then, things clarified when I realized that for both filmmakers, perception was at stake. It was not only a question of eye and mind but the very nature of their works is dealing with the way we perceived, despite the fact that one filmmaker is privileging a kind of photographic imagery while the other emphasized the perceptual processes through a kind of abstraction. At the same time, there is something else, both filmmakers have a specific relation to the used of colors. Colors seems to give way to the image.

 

Bibliography/bibliographie/bibliografia

Mathilde Chassigneux : Introduction à la compréhention du film Soft Collision : Dream of a Good Soldier de yann beauvais et Frederick Rock, en vue d’une étude de conservation et restauration, seminesaa arte et artefactualité, jan 2015, http://seminesaa.hypotheses.org/2801

Jean-Michel Bouhours : « yb 150213 » in, yann beauvais 40 anos de cinemativismo, organisé par Edson Barrus ed B3, Recife 2014 

Maria do Carmo Nino : Caminhos de Atravessamento yann beauvais e o cinema experimental / Travessing Paths, in yann beauvais 40 anos de cinemativismo, organisé par Edson Barrus ed B3, Recife 2014

Tony Chun-hui Wu : The Past and Present of Tawainese Experimental FilmDevelopment, in Stranger Than Cinema : A Study of Tawainese Experimental Film, ed by Tony Chun-hui Wu, legange editions, Taipei 2013

Philippe Langlois : « Les cloches d’Atlantis, Musique électronique et cinéma, Archéologie et histoire d’un art sonore » Editions MF, Paris 2012

Cecilia Cotrim : Querer a multidão : arte contemporâna e dispositivo metropole, em Arte e Arquitetura Balanço e Novas Direcões Fundação Universidade  de Brasilia, editora UnB Brasilia 2010

Bruno Elisabeth,: « Les horizons illusoires des illusions immersives »   in Pratiques Réflexions sur l’art n°20 : Les images mouvantes. Entre la salle de cinéma et l’espace d’exposition. Une tentative d’état des lieux, Presses Universitaires de Rennes, 2009

Roger Hallas : Reframing Bodies, Aids, Bearing Witness, and the Queer Moving Image, Duke University Press, Durham and London, 2009

Loïc Díaz-Ronda : La Difícil repolitazación de lo otro. Xperimental ’09. Miradas Contemporáneas al cine experimental, in Secuencias, Revista de Historia del Cine, n°30, Madrid 2009

Cecilia Cotrim : Arte e deriva : a escrita como processo-invenção in Arte & Ensaios n° 17, UFRJ, Rio de Janeiro, dezembro 2008 http://www.ppgav.eba.ufrj.br/wp-content/uploads/2012/01/ae17_Cecilia_Cotrim.pdf

Hervé Zénouda : Les images et les sons dans les hypermédias artistiques contemporains, de la correspondance à la fusion, L’Harmattan, Paris 2008

Sylvie Lin, « Fragmentation, Superimposition, Reflection and Projection…. Image Installations by yann beauvais’, in Artco Monthly, no. 188, Taipei, May, 2008

Christophe Bichon : « Visions of Reality & Motives and Textures », in Independent Film Show, 7th Edition, e-m arts / fondazione morra, Napoli, 2007

Cecilia Cotrim : L’inverstase du sucre à Metz, Revista Nos Contemporânos n°50, Barrus MAIMPRESSAO editora, São Paulo, 2007

Olivier Fouchard, « ,d’ailleurs » in Revista Nos Contemporânos n°50, Barrus MAIMPRESSAO editora, São Paulo, 2007

Jacques Virbel «  A propos de Hezraellah » in Revista Nos Contemporânos n°50, Barrus MAIMPRESSAO editora, São Paulo, 2007

Jesse Malmed : Big Dogs offer bard bites, barks, in The Bard Free Press, Volume VIII, issue 3, Bard 6 Nov 2006

Fabien Texier : « Cinéma :yann beauvais », in Polystyrène n°94, février 2006

Frédéric Valabrègue, « yann beauvais » in Journal Sous Officiel, n°018, Marseille, mars avr. 2004

Hollis Willis : «Film Forum yann beauvais in person » LA Weekly, march 2004

Frédéric Prai, « Marseille, sida le silence règne, tout va bien »!, l’agenda de Têtu, mars 2004

Julie Vandal , « Sid-Art-tion » in La Marseillaise, vendréd.i 6 février 2004

Flora Loyau : « yann beauvais, Tu, Sempre# 6» in Offshore, Marseille,  février 2004

Paul Emmanuel Odin : Tu sempre # 6, yann beauvais, in présentation exposition La compagnie, Marseille 2004

Roger Hallas, « The resistant Corpus, Queer Experimental Film and Video and the Aids Pandemic » in Millennium Film Journal n°41, New York, Fall 2003

Genevieve Yue : « How We Talk about Things: Report on the 32nd International Film Festival Rotterdam » in Senses of Cinema, film journal on line, Melbourne,n° 25, 2003

Marc Bembekoff : « Du sang sur les mains » in yann beauvais Tu, sempre # 5 les livre& Espace multimédia Gantner 2003

Muriel Caron : « De la déperdition temporelle à la dissemination spatiale » in yann beauvais Tu, sempre #5 les livre&, Espace multimédia Gantner 2003

Larys Frogier : « Strates de résistances, travail de mémoire » in yann beauvais Tu, sempre #5 les livre& Espace multimédia Gantner 2003

Mike Hoolboom : « Non jamais , non pas moi » in yann beauvais Tu, sempre #5 les livre& Espace multimédia Gantner 2003

Paul Emmanuel Odin : « Dans la nuit obstinément, le sida » in yann beauvais Tu, sempre #5 les livre& Espace multimédia Gantner 2003

Keith Sanborn : « Ce texte qui n’en est pas un in Tu, sempre de yann beauvais » in yann beauvais Tu, sempre #5 les livre& Espace multimédia Gantner 2003

Muriel Caron : « Quand le cinéma expérimental s’expose » in Archistorm #3 sep-oct 2003

Eric Priou, « yann beauvais : ouvrez l’œil ! une interview » in Franc-Parler n° 57, Tokyo, avril 2003

Pierre Imbert, « Quand le sida s’installe…» in La Nouvelle République, 20 février 03

Marc Bembekoff : « Des cimaises animées » in Exploding  # 9 Ecrans, Paris déc. 2002

Marc Plas : « Widescreens and wild screens » in Exploding # 9 Ecrans, Paris déc.  2002 

Sébastien Roncerey : « Etirements » in Exploding # 9 Ecrans, Paris déc. 2002 

Anne Hourtoule : Yann beauvais, Tu sempre, in Parisart dec 2002, http://www.paris-art.com/art/critiques/d_critique/Yann-Beauvais-Yann-Beauvais-Tu-Sempre-570.html

Elisabeth Lebovici : « Epidémie de miroirs » Libération du 30 novembre et 1er décembre 2002

Mark Barani, « Au delà du visuel/ Beyond the Visual » in Techniques et Architecture n°461, Expérience d’espace, Art:architecture Août /sept 2002

Corinne Taeger ;, « Des rives d’un visionnaire au grand cœur» in Urban pass n°1 Paris 2001

Pierre-Emmanuel Nyeborg : « Queerologie » in l’agenda de Têtu n° 53, Paris, février 2001

Olivier Schmitt : « A Rennes, jeunes talents et maîtres anciens partagent l’affiche du festival mettre en scène » in Le Monde n° 17672, du 20 nov. 2001

Louise Crawford : « Remembrances of things past » in Variant, Glasgow, Volume 2 n°13 Summer 2001

Emmanuel Lefrant : « Un cinéma de la réminiscence. Des Rives de yann beauvais » in Jeune, dure et pure !, sous la direction de Nicole Brenez et Christian Lebrat, Cinémathèque française, Mazzota 2001

Alain Alcide Sudre, « Performances, cinéma élargi et installations dans le cinéma expérimental français depuis les années cinquante» in Jeune, dure et pure !, sous la direction de Nicole Brenez et Christian Lebrat, Cinémathèque française, Mazzota 2001

Sonia Campagnola, «Campionamenti visivi » in Kult, Febbraio, 2001

Gino Dal Soler « Netmage » in Blow Up, Gennaio 2001

Muriel Caron, «Déambulation dans quelques films de yann beauvais » Mouvement n°8, Paris 2000

Madeleine Van Doren, octobre 2000 (après l’exposition et la performance réalisées à Montréal, dans le cadre du festival « nouveau Cinéma / Nouveaux Médias »)

Andrea Lissoni, in Link Project Netmage, Piccola enciclopéd.ia dell’imaginario technolgico Méd.ia, arte, communicazione, éd. Oscar Montadori, Milano 2000

Alberte Pagán : Introdución aos clásicos do cinema experimental 1945-1990, CGAC, Compostela, 1999

Gilles Royanais, « DEFILEXHXDEFILMXHXDECADRE » in Scratch Book, Paris 1999

Sermini Salah, «yann beauvais, la crise du cinéma » in Al Fan Al Sebea n°22 Septembre, Le Caire 1999

Sermini Salah, «L’esthétique des multi écrans dans le cinéma d’avant-garde français yann beauvais » in Al-Qust Al Arabin n°3017 du 24-25 07 Londres, 1999

Jean Michel Bouhours : « Nœuds d’images » in Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Denis Chevalier : «  Still Life » Le cinéma décadré : yann beauvais,  éd Trésor, Paris Taipei 1999

Muriel Collin-Barrand : « Espèces d’espaces`» in Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Jean-Damien Collin : « Pourquoi le rectangle s’effrite » in Le cinéma décadré : yann beauvais,  éd Trésor, Paris Taipei 1999

Scott Hammen : « A propos de New York Long Distance » in Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Yung-hao Liu : sous la direction de , catalogue : Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Yung-hao Liu : « Un rêve une réalisation » in Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Yung-hao Liu : « La folle énergie, Still Life » Le cinéma décadré : yann beauvais,  éd Trésor, Paris Taipei 1999

Philippe Alain Michaud, « Cher yann » in : Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Alain Alcide Sudre : « Pour une architecture de l’éphémère » in : Le cinéma décadré : yann beauvais, éd Trésor, Paris Taipei 1999

Ann Gavaghan, « Urban Emotion Exposéd. in Expérimental Films » in China News, 25mai 1999, Taipei

Dominique Noguez, Eloge du cinéma expérimental, nouvelle édition, Paris Expérimental, Paris 1999

Yves Aumont, « Ascenseur pour vidéos » Ouest-France, 31 déc. 1998 – 1er janv. 1999

Jennifer Burford , « Vers une radicalisation du mouvement et de la continuité Robert Breer : peintre, sculpteur et cinéaste » Presse universitaire du septentrion Villeneuve d’Ascq 1998

Bernhard Sallmann, « Oberhausen film festival » in Blimp, sept. 1998

Alain-Alcide Sudre, « Le film expérimental : un autre regard face à l’histoire » in Le Cinéma face à l’histoire, Vertigo n° 16, Paris, 1997

Alain-Alcide Sudre, « yann beauvais » in L’Art du mouvement, collection cinématographique du Musée national d’art moderne, sous la dir. de Jean-Michel Bouhours, Paris, Centre Pompidou, 1997

Fabienne Worth, « Le sida et le sacré » in Les Temps modernes, Paris, fév.-mars 1997

Yung-hao Liu, « Dossier spécial Journal filmé »; « Interview de yann beauvais : utiliser le cinéma pour écrire le journal »; traduction du « Je à la caméra » de yann beauvais et Jean Michel Bouhours, in Film Appreciation Journal, n° 82, juillet-août 1996, Taiwan

Celia Houdart, « Images expérimentales » in Le Journal des Expositions, avril 96

Denis Chevalier, « Le Regard piégé » in yann beauvais, Anne Marie Cornu, cat. expo. Rueil-Malmaison, Centre d’art contemporain, 1996

C. Cesbron, « Mire Invite à l’exploration » Ouest-France, 18-19 nov. 1995

Willem De Greef, « Digressions sur le journal filmé » in Le Je filmé, Scratch, Centre Pompidou, Paris, 1995

Alain-Alcide Sudre, « Expérimental (Film) » in Dictionnaire du cinéma mondial, sous la dir. d’Alain et Odette Virmaux, Paris, Le Rocher, 1994

Jean Yves Barbichon, « Défilé de film décadré » in NOV’ART, n° 11, 2e trim. 1993

Denis Chevalier, « Vite en vrac » in l’Armateur  n° 7, mai-juin 1993

Denis Chevalier, « yann beauvais » in l’Armateur  n° 2, Paris, 1992

Guy Goetals, « Experimentele film in Stuc Leuven » in De Morgen, 19 nov. 1991

X , « Zum Auftakt multiméd.iake Spektakel » Luzern Tagblatt 24 oct 1991

Maureen Turim, « The Displacement of Architecture in Avant-Garde Films » in Iris n° 12, Paris, Méridiens- Klincksieck, 1991

Urs Hangartner « Zeit, Raum, Töne und gefundene filmsachen zur Eröffnung » LNN 24 oct 1991

Mike Alexander  « Experimental art films » in Capital Time, Wellington sept 10-17 col 17 n° 15 1991

Anabright Hay  «Beauvais makes films without stories  for art’s sake » The Press,  Christchurch 18 sept 91

Mark Birch  « Experiments on film owe much to Len Lye, says French visitor » The Daily News, 31 août 1991, New Plymouth

Peter McLennan, « A bit of yann beauvais, Recent Films by yann beauvais » in Stamp n° 24, oct. 1991, Auckland

Laurence McDonald, « Composing and Performing Film, The Cinema Practice of Yann Beauvais » in Illusions n° 17, printemps 1991, Wellington.

Cameron Bailey, « Beauvais broadens avant-garde visions » in Now, vol. 10, n° 23, 14-20 fév. 1991, Toronto

William English, « Three aspects of French Experimental Film » in Millennium Film Journal , n° 23-24, hiver 1990-1991

Reinhard Wolf, « Film im Bonn » in Kob Info n° 93/94, Mayence, 1990

Deke Dusinberre, « Recent Films from Britain and the Continent » in International Film Congress, Art Gallery of Ontario, Toronto, 1989

Willem De Greef  «Scrifturen. Woord en tesk in film  Nota bij VO/ID van yann beauvais » in programme stuc, Leuven 1989

Alain-Alcide Sudre, « L’écriture comme matériau filmique » in Mot : dites, image, Paris, Scratch et Musée national d’art moderne, 1988

Malgorzata Kapuscinska  « Leitmotivy francuskiej awantgardy filmowej» in Illuuzjon n°3  Varsovie, 1987

Frédérique Devaux, « Scratch Again » in Kanal magazine, n° 25-26, oct.-nov. 1986

Raphaël Bassan, « L’occulte du cinéma » in Libération, Paris, 29 janv. 1986

Deke Dusinberre, « Lundi soir 9 décembre 85 » rétrospective yann beauvais, Centre Pompidou, Paris, 1986

Michael Maziere et Gillian Swanson, « yann beauvais Interviewéd. » in Undercut n° 12, Londres, 1984

Raphaël Bassan, «Etat du cinéma expérimental en France» in Imagine n°4, février Paris 1984

Paolo Bertotto « L’eidetico e il ceremoniale nel cinema sperimentale francese »in Il gergo inquieto Trent’anni di cinema francese (1950-1980) a cura di Ester de Miro e Dominique Noguez, Bonini Éd.itore, Genève, février 1983

Raphaël Bassan « Alcune tappe nel percorso del cinema sperimentale francese » in Visuel n°7, Carte Segrete, Turin 1983

Paolo Bertotto, « Alle origini del cinema sperimentale in Francia i film dada» in Visuel n°7, Carte Segrete, Turin 1983

Raphaël Bassan, « Biennale de Paris 1982 : le cinéma de recherche » in La Revue du cinéma, Paris 1983

Dominique Noguez, Trente ans de cinéma expérimental en France 1950-1980, Paris, Arcef, 1982

Dominique Noguez, « Le cinéma expérimental en France » in L’avant-scène – Cinéma, Paris, février 1980

 

 

According To…

According To…
1980
Musique de Martin Davorin-Jagodić
Cette pièce est une partition faite à partir du contact d’un ruban de papier perforé d’articles écrits pour un journal. Elle peut s’appréhender à la fois musicalement, picturalement et filmiquement. On peut aussi composer les trois modes ensemble. Ici il s’agit de la version réalisée et jouée par Martin Davorin-Jagodić.

p.a.c.i.f.i.c.a.ç.ã.o reaja ou será morto

2015 electronic files sound color

Avril 2015, Rio de Janeiro, la police militaire tente de calmer la foule après avoir tués des jeunes noirs.  Quatre écrans, textes en portugais français et anglais. Au son d’un rap de PH Lima : O bandido de Rio de Janeiro dans lequel il est dit que Rio est un état en guerre. Ou les noirs, pauvres et de la périphéries sont les ennemis et sont chassés comme des animaux.

defendeu a cidadaniaApril 2015, Rio de Janeiro, The Military Police try to calm down the unhabitans of the favelas after they killed some black teenagers. Sound of the footage with a rap by PH Lima: the gansgster of Rio de Janeiro , in which the singer states that Rio de Janeiro is a State at war, in which the  blacks, the poors from surburdia are shooted as animals. Four images and texts by: James Baldwin, Blacks Panthers, Aimé Césaire, Eldridge Cleaver, Frente 3 de Fevereiro, Aganju Shakur JiJaga, Julita Lemgruber,Vera Malgui, Ocupação Preta, footage initcial footage by Zaquel Nunes da Silva

Abril 2015, Rio de Janiero, os PM quer acalmar os moradores das favelos depois ter baleados jovem preto.  Com o som dos filmagens, o rap de PH Lima : O Bandido de Rio de Janeiro.

 

 

New Queer Cinema in relation to experimental film and video-art fighting AIDS. (Eng)

Originaly published in Portugues as O New Queer Cinema em relação ao cinema experimental e a videoarte no combate à aids, in New Queer Cinema, Cinema Sexualidade e Política, organização Lucas Murari e Mateus Nagime, Caixa Cultural 2015

 

New Queer Cinema in relation to experimental film and video-art fighting AIDS.

When AIDS appears in the early 80’s, filmmakers took a while to respond to such an event which was rapidly turning into a health crisis as much as a social and political crisis. The spreading of the decease has not only change the way we act and think about our sexual behavior but also its representation and its contradictory display. As Roger Hallas wrote in his study of Aids and Queer Moving Image : “The homosexual bodies were put on display as a traumatizing threat to the general public, while traumatized queer lives were discounted1”.

Facing this “plague” many filmmakers and video makers such as Gregg Bordowitz, Jean Carlomutso, Richard Fung or Tom Kalin working within activism, often on a collective basis (such as: Diva TV, GMHC, Gran Fury Collective), redefined ways of thinking and practicing documentary and or experimental work. The way they dealt with such matter was through a diversity of content and context and at the same time clashing practices of experimental filmmakers and video artist in order to shape ways to handle, face and respond to such an epidemic. You had to create new forms, new paths in which the documentary, the educational, the militant the experimental could intermingle.

When Ruby Rich create the term New Queer Cinema2 in the early 90’s, AIDS had already modified deeply the way filmmakers were dealing with representation of sexuality, identities and gender. But somehow the term of queer applied to film was praised by a group of film and video dealing with the construction and representation of gay and lesbian subject within a conference and film and video series, which took place in New York in 19893.

In September 1992, I was part of a conference on New Queer Cinema4 at the Ica in London in which Ruby Rich summed up her ideas about the expansion of this “genre” giving a special emphasis on lesbian video makers while I was given an international perspective from the history of experimental cinema.

The experimental film scene, video art and activism from the 80’s involving questions regarding AIDS, race and gender was transformed through an affirmation and re examination of the narrative, which had been itself challenged by the Feminist, the Punk movement, the No Wave Cinema and the Cinema of Transgression. Some of the filmmakers which are keys figures within the New Queer Cinema were using simultaneously different type of film practices. For example Derek Jarman, or Isaac Julien in England, John Greyson and Richard Fung in Canada, were dealing with features, experimental super 8 mm work, music video, documentary. The boundaries between media were bend and crossed over. A kind of integration -should we speak or disintegration-, a kind of blending between support and forms was taking place from which music video had been an earlier example but echoes the spreading of the illness for which separation of race and gender or classes did not exist.

The AIDS crisis was provoking different answers which will change according to visibility, access to informations and education. One should not forget that AIDS was not an issue outside the gay community; it was simply not an issue. Ronald Reagan spoke for the first time of AIDS during its second mandate. Within the media, AIDS was not visible; therefore one of the first things to do was to make it appears on screens, making it visible, and not only in the form of living dead figures. Show that you not only died of AIDS but lived with AIDS; for this purpose action had to be made. One could not avoid to realize, see and feel that the representation of AIDS within the media, press and television was very partial, to not say sectarian. As Stuart Hall said : “How could we say that the question of AIDS is not also a question of who gets represented and who does not? AIDS is the site at which the advance of sexual politics is being rolled back »5.

The question of representation of AIDS became an essential ground to occupy and fight for, to counteract the production the media coverage in order to provide alternative to these images rendering visible and accessible informations being about illness, people with HIV and people living with AIDS, as much as dealing with rights, prevention, sexuality and pornography. It was essential to deconstruct the production of discourses through words and images and this very often would take place within an experimental film and video practices or within films which have been labelled as New Queer Cinema from which The Ads Epidemic6 (1987) and Zero Patience7 (1993) are key markers. In the mid 80’s experimental cinema was going through a reformulation of its aims facing questions towards its formalism in regard to narrative, minority. The influential role of music video reshaped the landscape of filmic experience by combining support and techniques. It became obvious that video was gaining strength while creating new forms of collaboration, intervention, and distribution offering alternative ways to intervene within different levels of society. The works done were bearing all types of filmmaking and attitudes in a manner which was breaking the habit of seeing as much as way of thinking in making film. It seems that the works done crossing and collaging different attitudes within one work a creating a kind of mosaic of styles as much as one could experience with postmodernism. The autobiographical, the personal could become an essay, an activist work would claimed how to fight the consequence of the discrimination imposed by the hetero-normativity (Bright Eyes8 by Stuart Marshall is exemplary in this aspect of deconstruction).

bright24

This “perversion (contamination)” of experiences was already at works (dealing separately or not) through an examination of races such for example Sankofa in Britain with the work of Isaac Julien (Territories 1984, Looking For Langston 1989), Richard Fung in Canada with Orientations 1986, Fighting Chance 1990), gender (Sheila McLaughin with She Must Be Seeing Things 1987) or working within music video (Derek Jarman, Tom Kalin).

To find Isaac Julien and Derek Jarman at the forefront of such a transformation within experimental film reflects the importance of the question of identities and the way it nourished and transformed film practices. It seems that both Jarman and Julien dealt with the articulation of the personal toward the public, but in the case of Isaac Julien the elaboration of a black consciousness had to be done through an investigation about the representation of the black experience in England and through a re-vision of the Harlem Renaissance. These early works paved the road of the new queer cinema from the fact that they refused to portray and stigmatized gays as the usual business and promote other visions of gays where the queer identity is shown as a transgressive experience. Inverting the stigmatization and the abjection of gays, fighting against the blame of an epidemic which they were hold as responsible for, New Queer Cinema produced other characters other stories, tacking its challenging view from the history of experimental film9. On the level of the experimental cinema AIDS will challenge filmmakers on different levels in which the question of how to deal with the illness, how to represent oneself sick, dying… In DHPG Mon Amour (1989) the filmmaker Carl Michael George is dealing in super 8 with the daily life of two men (David Conover and Joe Walsh) experiencing with the drug DHPG documenting the effect of it, with the hope that it could help other survivors. The super 8 film differs from Silverlake Life (1993) which address mostly itself to a mainstream audience, but both films are dealing with similar question about the drugs one has to take to fight AIDS, and their comment about the drug, science and politics. This is shown through a gay relationship. The diary dimension of these films is shared by many filmmakers but the years they were made fathom the experience itself. At that time, treatment were experimental and death was the fatal outcome. An Individual Desires Solution (1986) by Larry Brose make us listen to the conversation of Larry’s lover before he died in Sussex. Shot in Super 8 the film break all convention to impose a discomfort while viewing . Having this in mind, filmmakers were turning into other means in order to generate and create a landscape of friction in which the political and social dimension will be present and vindicate. It is in that sense that we can understand some of the works of David Wojnarowicz, Rosa Von Prauheim, Mike Hoolboom, Jim Hubbard, Matthias Muller. In Richard Fung tapes and in Sea in the Blood (2000) , the personal dimension is articulated with colonialism, racism and sexuality, in a manner that intermingled his own story with poetical and political statement through multiple type of representation which goes from documentary to diary, essay….

One should recognize that the New Queer Cinema has always been relate to the traditional cinema in a sense that Hollywood has always produced a certain type of image of gays and lesbians despite the fact that it was very often pejorative. If the avant-garde had cut itself from the public, through an intense deny of pleasure, understood as visual pleasure then the task of the new queer cinema was to reintroduce the notion of pleasure and work to establish new code and archetype will escape from Hollywood clichés. Theatricality and pictoriality were re-introduced within the narrative and were already at work in Derek Jarman Sebastiane (1976) and Sally Potter Thriller (1979). This emphasis on theatricality was borrowed and ate same time perverting the notion of camp largely employed by the american underground filmmakers. The use of tableau and of vignette could be encounter within the works of Jack Smith and Andy Warhol… In this sense a subversion of forms is at work within the short films of John Greyson : The Ads Epidemic (1987) or Isaac Julien : This is not an AIDS Advertisment (1987). These films mix genre and aesthetics, colliding high and low culture, the chic and the trash; these works are breaking the dominant form of representation with fragmentation and excess tauntingly the production of authority. Both films were using music video language to fight the fear and stigmatization of gays and their sexualities.

These short films are dealing with questions of desire, pleasure as does Gran Fury in Kissing Doesn’t Kill (1990). The activism in these works is different than the one encounter with Fear of Disclosure (1990), in which David Wojnarowicz and Phil Zwickler questioned the sexual apartheid of the HIV-positive and the HIV-status unknown gay men. In this tape a text is delivered by Wojnarowicz in which the fear of rejection confront the fear of contamination. The activist dimension of the work is induced by the contradictory juxtaposition of the emotional uttering of David and the two golden go-go boys dancing. The association of these elements induce a strong tension between what seems to be public informations and its personal deliverance. The oscillation between these two domains is often at works within experimental film and video art dealing with AIDS. Here come in mind the works of Matthias Mueller, Mike Hoolboom, Gregg Bordowicz, Marlon Riggs, Derek Jarman, Richard Fung and mine.

The artists made films about AIDS for reasons which embrace militancy as such as Barbara Hammer’s Snow Job The media Hysteria of Aids (1986) which deals with the hysteria of the media during the Reagan years. In that film focussing on the media treatment of AIDS, the filmmakers recycled printed headings, looping titles, speeches mostly reactionary, intolerant, racist…. The inclusion of this discriminating text reverse the disgust, the hatred into a powerful tool in order to fight back. In the AIDS trilogy Jerry Tartaglia will examine several issues related “to the medicalization of morality, the policing of desire, and the management of the disease through cultural assimilation into the mainstream10. This strategy of appropriation and redistribution with a slight transformation is encountered mostly in minority liberation movement and has been revitalized by the AIDS activism in the West, being with Act-up or other collective11. The tension arising within the incorporation of militancy within the personal is inseparable of the attitude that filmmaker and video maker are engaged with at the time establishing a front line against a society of denials. Echoes of this insertion are found within many features films of the New Queer Cinema, such has the films of Derek Jarman, John Greyson, and to some extend with Gregg Araki and Todd Haynes. in which the moment of activism become an element of perturbation, a fragment of fight (out of control) within the narrative. With experimental films this is packed all together shaping a form of essay film. Mike Hoolboom Franck’s Cock (1993) would define a way to articulate the personal on the soundtrack12 while the screen would be divided in four different image that we scan over.

Franks_Cock_Screenshot1In that film –which echoes Aus der ferne The memo Book of Matthias Müller, because of the richness of the texture of the image and the use of found footage, the density of the editing but mostly because it is somehow a story about the other one, the one who is living– the recourse of the subjective point of view in opposition with the image play with a potential type of synchronicity between the two elements transforming the experience of listening into a kind of sharing; we are not only looking at but being part of at the moment of junction.

Aus der ferneWith Letters From Home (1996), the issue is different because we heard the voices of people with AIDS. Among them, the filmmaker’s one saying : “Members of my family who get all their information from reading the newspapers and watching television know two things about me – that I’m going to die and that the government is doing everything in its power to save me. They’re wrong on both counts.13” The film is based on a speech delivered by Vito Russo in 1988, and on text written by Mike. The film is a collection of remembrances and found footage organized in a such way that fragment of the images counterpoint the text at this time when the cocktaïl of drugs gave more time, gave us a life after a programmed death. Using different sources of material, such as film faded, decayed, tinted, rephotographed, recycled, Letters from Home is a collection of audio visual memories, establishing a space for us to think about what it is living at a time of AIDS.

This film shares with Matthias Mueller Aus der Ferne this idea about vulnerability of personal body as much as the fragility of a film, but Aus der Ferne is concerned about mourning and recovering while the films of Mike Hoolboom opened a political dimension through testimonies and articulation of a polyphonic discourse. It is interesting to note that Mike Hoolboom voice is used as the voice over of Pensão Globo (1997) and also in Tu, sempre (2001)14. In both case the fictional and autobiographical dimension written and delivered by Hoolboom add a layer at what is said and showed within these two projects giving a twist within the personal. In Still Life15 (1997) such as in John Lindell tapes the activism is dominant, the personal will appear through the voice over of David Wojnarowicz, Derek Jarman and mine, each one speaking about our relation to AIDS, through a lover being at the hospital, the effect of a medication or the modification of our sexual acts.

If the new queer cinema showed fascination for the entertainment industry (Swoon being a remake of The Rope), it was according to most filmmakers due to the fact that the avant-garde cut itself from the narrative of pleasure and from the pleasure of narrative. Some experimental filmmakers were always incorporating elements from the entertainment industry or dealing with such issue (Kenneth Anger, Andy Warhol, Jack Smith…), but here, it is not a question of quotation or parody (as in the films of the Kuchar brothers) or its remake (as made by Ken Jacobs in some of it’s works…), but of appropriation via found footage from which you could tell new cruising stories between two stars of the silver screen: Marlene Dietrich and Greta Garbo in Cecilia Barriga’s with Meeting of Two Queens (1991) . meeting of two queens

Incorporating images from the industry being cinematographic or televisual is part of the daily routine of filmmakers. The use of sequences from films or newsreels, being famous shots or not, is a recognition of the importance of the moving images in the construction of one individual as a social being. Using the representation of stars and give them a touch of pink, is a way to produce our own stories from the data base of the cinema history which as music, is one of the major source of production of oneself. In that sense the use of found footage, the incorporation of external images and sound and its redistribution within film and video signed to a certain extend the refusal of imposed meaning, by subverting it. In this sense the used of the sequence in which Fred Astaire and Gene Kelly dance together in Aus der Ferne, followed with different titles The End affirmed the mixing in one’s mind of public image and private memory. This dance is articulated not only with the text The end but also with image of the deceased lover shots in Super8. The question of the representation of gay sexual act would become once again an issue at the time of AIDS, at a time when bigotry, moralism and a conservatism backlash were dominating the media. It became obvious that within the field of experimental film and video art as much as with educational tapes sexual acts were to be shown; Richard Fung made this explicit with Steam Clean (1990) or Jean Carlomusto dealing with lesbian sexuality in Current Flow (1989).

In the 90’s it became very important to show sexual acts to counteract not only the moralism16 but to save life.

It seems that it is still relevant today to make works with an emphasis on homosexuality in regard to the constant increasing of the new contamination within the gay community. In that sense the work done by the filmmakers and video makes need to be continued.

yann beauvais Recife march 2015

1Roger Hallas : Reframing Bodies Aids, Bearing Witness, and the Queer Moving Image, Duke University Press, Durham, 2009

2Ruby Rich : first version : A Queer Sensation, in Village Voice March 24, 1992, second version in Sight and Sound such as The New Queer Cinema, 1992, reprint in The New Queer Cinema The Director’s Cut, Duke University Press Durham, 2013

3How Do I look ? Queer Film and Video, Ed by Bad Object-Choices, Bay Press, Seattle 1991

4The Conference took place on September 19 and 20, 1992 between Ruby Rich, Simon Whatney and yann beauvais, a seies of film and video were screened at this ocasion and presented by Tom Kalin, Christine Vachon… the first part of the talk can be listen at http://sounds.bl.uk/Arts-literature-and-performance/ICA-talks/024M-C0095X0921XX-0100V0 from which you have acess to the other parts of the conference.

5Stuart Hall : Cultural Studies and Its Theoretical Legacies, in Cultural Studies, Lawrence Grossberg, Gary Nelson, Treicher (ed) New York Routledge, 1982 p 285 and https://msuweb.montclair.edu/~furrg/pursuits/hallcultstuds.html

6Its subtitled This is not a Death in Venice :  Music video remake of Death in Venice, exposing the new epidemic « Acquired Dread of Sex » text description from Urinal and Other Stories, John Greyson Art Metrople + The Power Plant, Toronto, p 298 1993https://vimeo.com/39506044

7Feature musical exploring the contruction of AIDS scapegoats like Patient Zero, the Air Canada flight attendant accused of bringing AIDS to North America, idem page 296

8Bright Eyes 1984, 78 ‘. This tape produces for the new Channel 4 questionned the media and its production and manipulation of fear in relation to AIDS.

9On this matter one can look at Now you see it by Richard Dyer Routledge London 1990, and The Celluloid Closet Vito Russo, revised edition Harper & Row Publishers, New York 1987

10The AIDS Trilogy consist of A.I.D.S.C.R.E.A.M (1988) Ecce Homo (1989) and Final Solutions (1990) Jerry Tartaglia http://jtartaglia501.wix.com/jerry-tartaglia#!about/c10fk

11On this matter one could look at AIDS TV, Identity, Community and Aletrnative Video, Alexandra Juhasz, Duke University Press, Durham 1995, Representations of HIV and AIDS Visibility blue/s by Gabrielle Griffin, Manchester University Press, Manchester 2000.

12The script of the film is found at http://mikehoolboom.com/?p=851 the sound of the film is encounter at http://mikehoolboom.com/?p=856

13Extract from Letters From Home script : http://mikehoolboom.com/?p=934

14In Tu, sempre by yann beauvais dealing with AIDS, a two projections video installation, used the testimonies and voices of Mike Hoolboom, Didier Lestrade and yann beauvais, and a reading of Mark Morrisroe by Miles McKane, as part of the sound track created by Thomas Köner. http://yannbeauvais.com/?p=991

16 which was increasing its power by censoring different exhibition such as the one of Robert Mapplethorpe, David Wojnarowicz, to name a few, or by declaring that showing gay images was promoting homosexuality in the United States or in England…