Attend Archive 2
KINOSCOPE At Anthology Film Archives, NYC
Thursday April 20th, 4pm – 7pm
Kellen Auditorium
32 Second Avenue (at 2nd St.) New York, NY 10003 USA
AT THE EDGE OF LANDSCAPE: A RETROSPECTIVE OF SALOME LAMAS’ SHORTS
KINOSCOPE is honored to present its first this season, rare and sublime work AT THE EDGE OF LANDSCAPE: A Retrospective of Salome Lamas’ Shorts at its new screening location, Maya Deren theater at Anthology film Archives. The screening will be introduced by Kinoscope founder/director Pawel Wieszczecinski and followed by discussion with filmmaker.
A reception with food and beverages will follow the screening.
The screening is open to the public. Donations are welcome at the door.
AT THE EDGE OF LANDSCAPE Program (75 min)
Paradise (2014)
5’38 min. Belgiumm/Qatar Laura Vandevynckel
Paradise is the story of people heading for a better place on either side of the ocean. Although at times their paths do cross, they never really seem to meet.
Ouroboros (2017)
77 min. France/Palestine/Belgium/Qatar Basma Alsharif
Basma Alsharif’s first feature-length film ambitiously expands the exploration of her earlier shorts of the contested geography and history of her native Palestine. Ouroboros takes its title from the ancient Egyptian mythological symbol of a snake devouring its own tail and paradoxically signifying both self-annihilation and infinity. Paradoxical movement is also key to Alsharif’s film from its remarkable opening image, a mesmerizing and dramatically extended overhead shot of waves lapping, not against, but away from the Gaza shore. A similar reverse force mysteriously guides key sequences throughout Ouroboros, most notably a bravura and wordless Steadicam sequence of a woman returning to (or is she leaving?) a home that may or may not be her own. The question and problem of return is written everywhere across a film that refuses any kind of center or narrative destination yet is structured around unexplained symmetries between the intertwined and sundrenched territories through which it glides: Palestine, Los Angeles, the Mojave Desert, Italy and Brittany. Loosely connecting these territories is an enigmatic figure (is he a poet, a spurned lover, a friend?) who reunites with (or does he separate from?) former acquaintances. Shared by these locations as well is a sense of a deeper and partially erased history remembered and testified more expressively by the landscapes than by their inhabitants.
Rosehill (2015)
79 min., USA – Germany Brigitta Wagner
After receiving some disturbing news, a New York actress visits her old friend, a frustrated sex researcher in rural Indiana. The women embark on a local road trip through a place that has seen better days and, in the process, rekindle their shaky bond.
ARTIST’S STATEMENT
In a fertile occupation of ‘no man’s land’ Lamas attempts to dissolve the apparent border between documentary and fiction; with an interest in the intrinsic relationship between storytelling, memory, and history, while using the moving image to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital.
About SALOME LAMAS
Salomé Lamas (1987, Lisbon) studied cinema in Lisbon (Escola Superior de Teatro e Cinema) and Prague (Filmová a Televizni Fakulta Akademie Múzick’VCH
V Praze), visual arts MFA in Amsterdam (Sandberg Instituut, Gerrit Rietveld Academie) and is a Ph.D candidate in Contemporary Art Studies in Coimbra (Universidade de Coimbra).
Her work has been screened both in art venues and film festivals such as Berlinale – Internationale Filmfestspiele Berlin, NIMK – Netherlands Instituut voor Mediakunst, Festival Internazionale del Cinema di Roma, BAFICI, Museo Nacional Centro de Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Pacific Film Archive, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Hong Kong Film Festival, UCLA Film & Television Archive, Serralves – Museu de Arte Comtemporânea, Tate Modern, Centre d’Art Contemporain de Genève, Bozar – Palais des Beaux-Arts, TABAKALERA, ICA – The Institute of Contemporary Arts, Mostra de São Paulo, CAC – Contemporary Art Center Vilnius, Ann Harbor.
Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship – Harvard University, The Rockefeller Foundation – Bellagio Center, Fundação Calouste Gulbenkian, Fundação Oriente, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Künstlerprogramm des DAAD.
She collaborates with the production company O Som e a Fúria and is represented by Miguel Nabinho Gallery – Lisboa 20.
FILMOGRAPHY
FATAMORGANA [in development] • EXTINCTION [2017 – in production] • COUP DE GRACE [2017] • HORIZON NOZIROH [2017] (video installation – co-directed with Gregorio Graziosi in collaboration with Christoph Both-Asmus) • THE BURIAL OF THE DEAD [2016] (video installation) • UBI SUNT [2016] • ELDORADO XXI [2016] • A TORRE [2015] • MOUNT ANANEA [2015] (video installation) • NORTH: TRIAL BY FIRE (audiovisual performance) [2015] • LE BOUDIN [2014] • THEATRUM ORBIS TERRARUM [2013] (single channel; video installation) • TERRA DE NINGUÉM [2012] • A COMUNIDADE [2012] • ENCOUNTERS WITH LANDSCAPE3X [2012] • VHS-VIDEO HOME SYSTEM [2010-2012] • GOLDEN DAWN [2011] • IMPERIAL GIRL [2010] • JOTTA: A MINHA MALADRESSE É UMAFORMA DE DELICATESSE [2009] (co-directed with Francisco Moreira)
Kinoteka Multiplex, WARSAW
Details Coming soon
Kinoteka Multiplex
Palace of Culture and Science (entrance from Al. Jerozolimskie),
Parade Square 1
00-901 Warszawa
Details coming soon
Kellen Auditorium, NYC
December 9th, 2016 at 7pm
Kellen Auditorium
66 5th Ave, New York, NY 10011
THE NEW SCHOOL’S KINOSCOPE
is Honored to Announce Its Last This Season, Rare Film Presentation of Kathleen Collins’ LOSING GROUND (1982) along with Screening of Short Film THE GIRL WHO DANCED WITH THE DEVIL (2016) by João Paulo Miranda Maria
Kinoscope, a film presentation organization sponsored by the School of Media Studies, invites you to special screening of crucial cinematic work “Losing Ground” (1982) by Kathleen Collins as well as the short “The Girl who Danced with the Devil” (2016) by João Paulo Miranda Maria which will be introduced and followed by discussion with special guest (TBA) and founder/programmer Pawel Wieszczecinski (Kinoscope).
A reception with food and beverages will follow the screening.
Paradise (2014)
5’38 min. Belgiumm/Qatar Laura Vandevynckel
Paradise is the story of people heading for a better place on either side of the ocean. Although at times their paths do cross, they never really seem to meet.
Ouroboros (2017)
77 min. France/Palestine/Belgium/Qatar Basma Alsharif
Basma Alsharif’s first feature-length film ambitiously expands the exploration of her earlier shorts of the contested geography and history of her native Palestine. Ouroboros takes its title from the ancient Egyptian mythological symbol of a snake devouring its own tail and paradoxically signifying both self-annihilation and infinity. Paradoxical movement is also key to Alsharif’s film from its remarkable opening image, a mesmerizing and dramatically extended overhead shot of waves lapping, not against, but away from the Gaza shore. A similar reverse force mysteriously guides key sequences throughout Ouroboros, most notably a bravura and wordless Steadicam sequence of a woman returning to (or is she leaving?) a home that may or may not be her own. The question and problem of return is written everywhere across a film that refuses any kind of center or narrative destination yet is structured around unexplained symmetries between the intertwined and sundrenched territories through which it glides: Palestine, Los Angeles, the Mojave Desert, Italy and Brittany. Loosely connecting these territories is an enigmatic figure (is he a poet, a spurned lover, a friend?) who reunites with (or does he separate from?) former acquaintances. Shared by these locations as well is a sense of a deeper and partially erased history remembered and testified more expressively by the landscapes than by their inhabitants.
Rosehill (2015)
79 min., USA – Germany Brigitta Wagner
After receiving some disturbing news, a New York actress visits her old friend, a frustrated sex researcher in rural Indiana. The women embark on a local road trip through a place that has seen better days and, in the process, rekindle their shaky bond.
Click here to view previous events.
