Asparagus, Suzan Pitt, 1979, 18’
In this hand-painted film, Pitt takes us on a hallucinogenic journey through her psyche, the intricate flora of female sexuality and the lush jungle of creative impulse.
Frank Film, Frank i Caroline Mouris, 1973, 8’ 25’’
The artists explain their life, marked by the senseless saturation of the superabundance of capitalist merchandise. An animated collage and two simultaneous soundtracks produce an accumulation of objects, animals, food and bodies for consumption.
Rhythmus 21, Hans Richter, 1921, 3’ 19’’
In his first film, the German painter plays with squares and rectangles that dance in changing compositions, creating a precise rhythm and subverting the cinematic illusion of depth.
Dots, Norman McLaren, 1940, 2'
In this abstract short, both the images and the music are painted directly on celluloid with ink.
Pen Point Percussion, Norman McLaren, 1951, 6'
In this short documentary, McLaren explains with crystal-clear clarity how optical sound works, and how he draws it.
Trade Tattoo, Len Lye, 1937, 5' 33''
Here, Lye played with a technique that required three negatives, one for each colour. By creating layers of vivid, unnatural colours and showing the perforations of the negative, he generates a complexity of visual and musical rhythms.
Science Friction, Stan Vanderbeek, 1959, 10'
Combining collage, animated paintings, real images, dialogues and mechanical sounds, Vanderbeek takes a critical and humorous look at humankind, science and consumerism.
3/60 Bäume Im Herbst, Kurt Kren, 1960, 5' 03''
In 16mm and frame by frame, Kren films the trees in a wood, turning a portrait of the everyday into something supernatural. The soundtrack painted in ink over the film becomes increasingly recognizable as thunder and contrasts with the image, giving it a shaking sound.
Impresiones en la alta atmósfera, José Antonio Sistiaga, 1988-1989, 7’
Sistiaga sees the strip of film as a huge canvas and paints it by hand with a cosmological gaze, bringing to the screen multicoloured circular shapes that become dynamic.
Unsubscribe #3: Glitch Envy, Jodie Mack, 2010, 6’
In the Unsubscribe series, Mack recycles junk mail, cutting magazines into arbitrary shapes and creating an abstraction of glitches and analogue pixels that shift and change.
Komik, Jorge Honik, 1969, 1' 47''
In this dream-like work, Honik draws us into a girl’s dreams, using collage and a constant flickering that takes us away from the time of humans.
A playlist by Lara Guerra based on Elena Duque's publication.
