Machinima - a portmanteau of ‘machine’ and ‘cinema’ - is the process of using real-time computer graphics engines to create a cinematic production. Though few use the term, artists have been experimenting with this mode for almost as long as videogames have existed. Across a series of short films featuring various videogame environments, this programme proposes that whilst games can be art, art can also be games.
“Love has no end—a story always has. You will now see: a lovestory.”
“A young man leaves his village to audition for a dance company in town. He starts getting involved in illegal activities. He goes to bed with men for money. He falls in love with a man. He starts performing with a dance company.” So begins Georgian filmmaker Alexandre Koberidze’s first feature Let The Summer Never Come Again, and before long what may seem first like a fairly straightforward film proves itself to be a source of frequent wonders. Filmed entirely on a Sony Ericsson W595 yet offering no shortage of visual splendour, it is a work of consistent ingenuity and continual surprise, an experimental, three-hour-plus piece of pixel-impressionism that references cinema’s silent era whilst forging forward with the creation of its own language. Roads wind, the city glimmers, trees tremble in the wind, and cats, dogs and people come and pass by Koberidze’s camera, life unravelling in a series of bold gestures and broad brushstrokes. A prize winner at FIDMarseille and Berlinale, Koberidze’s film is many things: a classical romance; a city symphony; and a road movie rolled into one.
Let The Summer Never Come Again will be preceded by five minutes of short film ‘love streams’ made by filmmakers affiliated with Kinet Media. Kinet is a virtual studio dedicated to the production and dissemination of new and boundary pushing avant-garde cinema.
Late Embryo + Rained Last Night (Kelley Dong | 2017 | USA | 1’)
Redshift (Isaac Goes | 2019 | USA | 1’)
Go-Stop (Miguel Mantecon | 2018 | USA | 1’)
face time audio (Isiah Medina | 2018 | Canada | 1’)
_feb18 (Dylan Tachick | 2018 | USA | 1’)
4z (Michelle Yoon | 2019 | USA | 1’)
Let The Summer Never Come Again (Alexandre Koberidze | 2017 | Georgia, Germany | 202’)
15th September 2018, the Goethe Institut, South Kensington. Presented with Patrick Holzapfel, Maren Hobein and Goethe Institut, as part of ‘Always Somewhere Else - The Cinema of Angela Schanelec in Dialogue.’
“It’s gonna be you,
It’s gonna be everything you’ve ever dreamed.
It’s gonna be who,
It’s gonna be everything and everything, we’re meant to be.”
In Helena Wittmann’s DRIFT, two women talk, leisurely and loosely, before one of them sets off for the other side of the planet - slowly but surely stepping off land and into the sea. A distance is drawn; an ocean lies between them. Sensually and synesthetically, a journey is charted, the camera moving with the moods of its characters, sensations plotted with a sensitivity that softens the stoic structure holding it all together. The Dreamed Path — made a year before by a tutor of Wittman’s, the inimitable Angela Schanelec — shares a similar sense of motion, charting another relationship that takes place across a great distance. Sharp and yet also fluid, distant but designed - these are hypnotic, emotive films that lull with their rigour and rhythm, all the while remaining guided by a intuitive visual logic, an unconscious force unto its own. Slipping out to the tranquil terrains of the subconscious and transporting the senses with them, the films (and their viewers) eventually return, alert and anew - a sense of serenity, and of the sublime, irrevocably imbued.
The Dreamed Path (Angela Schanelec | 2016 | Germany | 86’)
DRIFT (Helena Wittmann | 2017 | Germany | 97’)
“As a major storm strikes Texas in September 1900,
a new and mysterious televisual device is built and tested…”
A series of 3D films from Toronto based critic, educator and filmmaker Blake Williams that build upon his research into the history of the use of stereoscopic technologies in the avant-garde; satisfying, sensorial experiments that push the possibilities of the image into strange and alluring new directions.
Red Capriccio (Blake Williams | 2014 | Canada | 7’)
Something Horizontal (Blake Williams | 2015 | Canada | 10’)
PROTOTYPE (Blake Williams | 2017 | Canada | 63’)
“As you look at the screen, it is possible to believe you are gazing into eternity. You see the things that were inside you. This is the womb, the original site of the imagination. You do not move your eyes from the screen, you have become invisible.”
A series of recent artists’ moving image works exploring the internet, digital technologies, virtual realities and other forms of networked existence. Together these short films open a window into outer realms of the digital present, ruminate on our connected past, or speculate towards unknown futures.
Still Life (Beta Male) (Jon Rafman | 2013 | Canada | 5’)
Colossal Cave (Graeme Arnfield | 2016 | UK | 11’)
Wherever You Go, There We Are (Jesse McLean | 2017 | USA | 12’)
All That Is Solid (Louis Henderson | 2014 | France/UK | 16’)
SELACHIMORPHA (Joey Holder | 2017 | UK | 5’)
(∃u) [u ≤ f and u ≤ m] (Isiah Medina | 2014 | Canada | 1’)
whoiswatchingiam (Ciaran McWilliams | 2016 | UK | 3’)
t a r d i g r a d e (Eduardo Makoszay | 2016 | Mexico | 6’)
I (FRAME) (Karissa Hahn & Andrew Kim | 2016 | USA | 11’)
Disobedient Children (Dorine van Meel | 2016 | Netherlands | 17’)
20160815 (Tina Frank | 2016 | Austria | 3’)