2024/10/18（金）
Alexandre Larose and Emmanuel Lefrant
Opening act / Shinkan Tamaki
デジタル映像が当たり前の現代において、フィルムでの実験的な表現にこだわる2人の作家が鹿沼にやってきます。多重露光でイメージと時間の積層を提示する、カナダで最もアクティブな作家の一人アレクサンドル・ラロース。ジャンルを逸脱した映画の後ろ盾であるパリの配給組織＝ライトコーンのディレクターであり、フィルムの物質性と抽象の世界を探求するエマニュエル・ルフラン。2度と無いこの日の為に組まれた8mm/16mmフィルム上映の特別プログラム。映像に興味のある人は絶対にお見逃しなく。
オープニングアクト：田巻真寛（Center）
18:30 Open / 19:00 Start / 21:00 End
料金 予約2,000円 / 当日2,500円 (ともに1ドリンク付)
会場:Center
鹿沼市銀座1丁目1273番地
駐車場は宿泊者優先の為、お車の方は新鹿沼駅前の有料駐車場などをご利用ください
予約はCenterまでメール/SNS/店頭でお名前・人数・電話番号をお知らせください
メール: info[at]center-kanuma.net
プロフィール
Alexandre Larose / アレクサンドル・ラロース
ケベック州モントリオールを拠点とする映像作家。2000年代初頭から映画制作を始め、エンジニアや映画技術者との緊密な共同作業により、カメラの視点を拡張することを一貫して行ってきた。映画撮影に関する広範な実験の結果、現在は撮影時のカメラ内部でのテクニックと手作業による処理に重きを置いている。
Emmanuel Lefrant / エマニュエル・ルフラン
パリを拠点にフィルム（セルロイド）にこだわった自主映画を制作している。眼で見ることのできないフィルムの乳剤に秘められた世界を表出させることを重要なテーマとしている。実験映画配給組織Light Coneのディレクター。2000年にフィルムによる拡張映画集団Nominoëを結成。ポンピドゥー・センターやロッテルダム国際映画祭（IFFR）など、多くの場所で上演されている。
In an age where digital images are the standard, two artists who insist on experimental expression on film are coming to Kanuma. Alexandre Larose, one of Canada’s most active moving-image artist working on film, presents layers of images and time in multiple exposures. Emmanuel Lefrant, director of the Paris-based distribution organisation Light Cone, which is behind genre-busting films, explores the materiality of film and the world of abstraction. Anyone interested in film should definitely not miss this special programme of 8mm/16mm projections.
Alexandre Larose
A moving-image artist based in Montréal, Québec. Larose began making films in the early 2000s, almost systematically involving close collaborations with engineers and film technicians to expand the point-of-view of the camera. His current practice heavily relies on in-camera techniques and hand-processing, which are the result of extensive experimentation with cinematography.
Emmanuel Lefrant
Lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see.
In 2000, he founded with Nicolas Berthelot, Alexis Constantin and Stéphane Courcy the collective Nominoë. They created together performances which have been played in many places, as the Pompidou Centre, the Serralvès Foundation (Porto) or the Rotterdam International Film Festival (IFFR).
上映プログラム / Program
※全てフィルム上映となります/ all film projection
※若干変更になる可能性もございます/ The content may change slightly.
—Alexandre Larose—
chute #9a (super8, 1min, silent, 2011)
bonne nuit (super8, 3.5min, silent, 2006)
La Grande Dame – étude (super8, 3.5min, silent, 2011)
Artifices – études (super8, 4min, silent, 2006-2007)
Artifices #1 (super8, 3.5min, sound, 2007)
brouillard #1 (super8, 3.5min, sound, 2009)
brouillard – étude (super8, 3.5min, silent, 2012)
Sackville Marshwalk (16mm, 2.5min, silent, 2013)
Rue de la Montagne (16mm, 1.5min, silent, 2012)
total running time : 26 minutes
—Emmanuel Lefrant—
ALL OVER
2001 / 16mm / color / sound / 24 ips / 7′ 00
Prior to any other treatment, the emulsion is covered with layers of chemical products, resulting in a black filmstrip. “The black leader can be anticipated as Malevitch’s white painting: a space in which everything is possible, the space of absolute potentiality and virtuality.” This is because cinema, contrary to painting, gives light to its own image, via the lamp projector. This is not about covering a blank surface with forms and colors since they already exist on the black film. Whilst ALL OVER is a film made without “instrumentation” (like a camera), it also differs from direct films in that the film remains untouched by any tool (not even the hand). As in dripping, materials and color are spontaneously laid down on the film in semi-controlled gestures, which create a shower of colored dots. The soundtrack functions according to the same principle: the sound, in all its expressions, is formed using one single formal element.
BLITZ
2006 / 16mm / color / sound / 24 ips / 6′ 00
This is a deserted black space that one tries to fill in. To the point of becoming totally submerged in color. One explores the chromatic circle, by turning around it meticulously. And by vertical unreeling, a process specific to cinema. BLITZ turns a page opened two years ago in Canada. I started to work on line patterns with the collective PHYLM, for a performance, and then for an installation. Once back in France, I re-explored this figure with the nominoë collective, and the performance LI[GHT]NES.
OVERALL
2006 / 16mm / color / sound / 24 ips / 5′ 00
«Whilst the greater number of our nocturnal visions are perhaps no more than faint and fantastic reflections of our waking experiences, there are still a certain remainder whose immundane and ethereal character permit of no ordinary interpretation, and whose vaguely exciting and disquieting effect suggests possible minute glimpses into a sphere of mental existence no less important than physical life, yet separated from that life by an all but impassable barrier.» H.P. Lovecraft, Beyond the Wall of Sleep OVERALL continues the project which began as ALL OVER. The creative process has become inversed since the primary material is now oil paint. The original film was painted with J. Pollock’s dripping technique on a transparent film strip and then all colors were inversed in lab with a contact printer. The soundtrack was made using a signal processing environment called «Pure Data», calculating in real time the color density of the image.
PARTIES VISIBLE ET INVISIBLE D’UN ENSEMBLE SOUS TENSION
2009 / 16mm / color / sound / 24 ips / 7′ 00
Africa, 2003: the mechanisms of memory.
I shot the image of a landscape and buried simultaneously a film strip in the same place where the sequence was shot: the emulsion, the victim of erosion is thus subjected to biochemical degradation. The result of these natural processes of decay are then conserved in the state of their dissolution. Those two images, and their negative versions, are then entangled together thanks to double exposure and bi-packing techniques.
These landscapes in fusion, it’s the logic of a world that reveals itself. A bipolar world, where invisible takes shape with the visible, where the first dissolves itself into the second and vice versa.
STILL FRAMES
2002 / 16mm / color / silent / 18 ips / 3′ 00
STILL FRAMES is a laboratory film, conceived while I was finishing SARABAN. Indeed the two films were produced from the same images. The aim was not only to prove that the same source of image can generate two different films but also to highlight the incidence of light on color.
