TURBIDUS FILM #16 presents GRADUAL SPEED: Els van Riel

20 Sep 2016 - 19:30

TURBIDUS FILM #16 presents one of the best experimental films of recent years, Els van Riel's (BE) masterpiece GRADUAL SPEED, hasn't been shown in Stockholm yet. Winner of the Gus Van Sant Award on the Ann Arbor festival 2014.

16mm film screening, 16mm film installation and Q&A with the filmmaker Els van Riel.

Curator: Daniel A. Swarthnas

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Belgium, 2013, 16mm, b&w, optical sound, 50’00
For a film whose title describes the relatively simple mechanism used to create it, Els van Riel's 16mm film ushers a series of startling transfigurations which brilliantly engage the form in the extended time spent with people, animals, events and objects in whose company the filmmaker sketches larger philosophical concerns to do with love, fixity, representation and loss. Carefully positioned, the camera begins on a single frame, the shutter held open, and then is imperceptibly increased in speed, quickening the frame rate and thus changing the exposure time for each successive frame, which eventually produces a visible moving image whose Keystone-Cops styled speed in turn changes, at length falling into step with real time. van Riel was inspired to make the film in part by happening upon the account of Vladimir Shevchenko, one of the first photographers to witness the immediate and appalling consequences of the nuclear disaster at Chernobyl and to record them on a sensitive plate. The actual degree of that sensitivity was evident in the film he used, which, when processed, showed the characteristic effects of heavy radiation in the emulsion. He himself later succumbed to radiation poisoning. van Riel notes, “It is this inextricable relationship that casts its long shadow across this musing film-sculpture, like an afterthought that reminds us that film is primarily a body that carries within it the light traces of other bodies, always balancing between appearing and disappearing” These observations are manifested in the precision of her subject's endlessly renewed temporal adjustment, so that the imminent haste, for example, of her dozing mother, whose fidgeting over the long duration signifies much in it’s change of speed alone, becomes all we have ever needed to know about exposure tables and time's abstract passage. It is this inward epiphany, rather than any dazzle on the screen that holds the greatest power to sway. – Julie Murray

"Remembering Vladimir Shevchenko”: an unexpected ode at the end of a film that at first seems to have itself as its subject: film as matter, form, experience of light, movement, time (the title refers to the gradual increase in the speed of filming). Shevchenko was one of the first filmmakers to see the appalling consequences of the nuclear disaster at Chernobyl and record them on sensitive plate. The actual degree of that “sensitivity” later revealed itself when he noticed that his film material itself showed traces of radiation – which would also result in his own death. Light, radiation, photography: it is a relationship that hangs like a dark cloud over the history of the 20th century, from visual experiments with x-rays to atomic shadows on the walls of Hiroshima. It is this inextricable relationship that casts its long shadow across this musing film sculpture, like an afterthought that reminds us that film is primarily a body that carries within it the light traces of other bodies, always balancing between appearing and disappearing.

”A few years ago I started collecting images with the idea in mind to pay homage to the slowly vanishing techniques of analog filmmaking. Now a series of these recordings makes GRADUAL SPEED, a work on and for black and white 16mm film seen as matter, and at the same time as a metaphor for everything we cannot grasp. At present, a year later, I notice that these analog techniques might not be disappearing but rather have come to a turning point. As if they are getting a second chance. Due to the actual co-existence of a large variety of moving image media, we are now able to analyze their different characteristics, work with them, and extract from them the unique qualities of analog filmmaking. Most of my work favors celluloid because of its immediate engagement with �materiality. Its chemistry allows me to celebrate the temporality of the moment as well as to grasp my own personal moment, that only chance to discover, here and now, a grain of sense.” - Els van Riel

Belgium, 2014, 16mm-installation, one projector, one motion sensor, one still picture, b&w, silent, 01´00 loop
The film installation OMER put new life in a still image. By filming a still portrait, developing the film in a non-stable bath and projecting it again as a moving image on the same still portrait, the pictured person comes to life again. As if that would be possible.
A motion sensor makes the visitor activate the 16mm projector as soon as he or she gets a closer look to the photo. Then two different points of view reanimate the portrait. One angle to the screen reflects the direct still image, a second angle slightly to the left or right reflects the moving image. By a gentle rocking movement of the spectator on the rhythm of the projector's motor, the portrait comes to life, as if a new dialogue could be started. OMER wants to recall the primary possibilities and probabilities of the moving image.

Q&A with Els van Riel

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ELS VAN RIEL (b 1965)
Els van Riel lives and works in Brussels, Belgium. Studied photo- and cinematography, and worked as a photographer, editor and producer for various photo-, film-, video- and theaterproductions.

Her films, video's and installations explore the impact of detailed changes in moment, movement, matter, light and perception.
“With links to the tradition of structural film making, the work by the Brussels based film-and videomaker, Els van Riel, explores the basic elements for cinema - time and light - and develops a form for new aesthetic pleasure, bypassing any symbolism and narrativism. For van Riel the projector is a central figure in the cinematographical act of giving form to a screening, performance or installation. The mechanical image source becomes actively present as if it were a living object.” - L'art Même

www.elsvanriel.be/index.php http://www.elsvanriel.be/index.php

Interview with Els van Riel
http://aafilmfest.org/news/204-els-van-riel-on-image-making-gradual-speed http://aafilmfest.org/news/204-els-van-riel-on-image-making-gradual-speed


Entrance: 60 kr, card is queen




Medlemsproduktion: Daniel Swarthnas