To Jonas Mekas
The Xcentric Archive invites us on a journey through the history of experimental cinema, from the first decades of the twentieth century to the twenty-first century, in order to…
Discover that you don’t need a large budget to make a great film.
Transmit tools of audiovisual expression and infect us with the hunger to make films.
Experiment with the plastic properties of film material; paint, turn each frame into a small canvas, scratch, tear the celluloid, or intervene on pre-filmed images.
Dance in a garden and make the camera a part of the body of the woman who is filming, into a living organism.
Eroticize the screen not exclusively from a male point of view but through a cinema made by women who transform their own desire into film material.
Challenge the— supposed—ideal of beauty imposed by the western canon.
Open up the possibility of the existence of an undisciplined cinematic archive of bodies.
Explore the subconscious and, through the possibilities offered by celluloid and digital technology, represent dreams, hallucinations and altered states.
Write diaries; write letters through images of great beauty. Discover in cinema a powerful tool of relation with reality in the face of the estrangement of exile and alienation.
Question mimesis, experiment with animation techniques such as drawing, collage, stop motion... to imagine other visual and sound dimensions.
Make new films out of found, recycled, reappropriated materials; out of domestic films, scientific films, of any kind of footage, also rejected or discarded footage, or out of fragments of great Hollywood classics.
Be cinematically eccentric.
Therefore, if you take this route through the archive, it is likely that you will glimpse along the way, from time to time, brief flashes of beauty.
Entr’Acte, René Clair, Francis Picabia, 1924, 20’.
Emak Bakia, Man Ray, 1927, 19’.
Zéro de conduite, Jean Vigo, 1933, 42’.
At land, Maya Deren, 1944, 16’.
Begone Dull Care, Evelyn Lambart, Norman McLaren, 1949, 8’.
Un chant d’amour, Jean Genet, 1950, 25’.
Glimpse of the Garden, Marie Menken, 1957, 5’.
À la mode, Stan Vanderbeek, 1959, 7’.
Angel Blue Sweet Wings, Chick Strand, 1966, 3’.
Fuses, Carolee Schneemann, 1967, 22’.
Moon’s Pool, Gunvor Nelson, 1973, 15’.
Lost Lost Lost (Diaries, Notes and Sketches), Jonas Mekas, 1976, 180’.
Free Radicals, Len Lye, 1979, 4’.
L’amour reinventé, Maurice Lemaître, 1979, 12’.
Syntagma, Valie Export, 1984, 17’.
Parasympathica, Mara Mattuschka, 1986, 4’.
Anamorphosis, Quay Brothers, 1991, 14’.
Trying to kiss the Moon, Stephen Dwoskin, 1994, 94’.
Last Lost, Eve Heller, 1996, 14’.
Film Ist 1-12, Gustave Deutsch, 1998-2002, 150’.
Dream Work, Peter Tscherkasky, 2001, 10’.
Hide, Matthias Müller, Christoph Girardet, 2006, 8’.
Color perro que huye, Andrés Duque, 2011, 70’.
Maya Deren, Take Zero, Jaime Ballada, Gerard Gil, 2012, 31’.
Glistening Thrills, Jodie Mack, 2013, 8’.
