film, film, film
presented in conjunction with suek-artist
8:30pm 31st January 2009
The BAck doOR @ suek-artist
entry off back lane
658 Plenty Road, Preston
Melbourne, Victoria, Australia
catch the 86 tram to stop 52
A night of seduction that only film can create. Come and experience the beguiling nature of film passing through the projector gate and the flicker of light that emanates from within the projector beam. This programme brings together both single and multi-projected works from three of Australia's best experimental filmmakers, Dirk de Bruyn, Richard Tuohy and Nick Ostrovskis. Full programme details yet to be confirmed.
Running Dirk de Bruyn, 35 mins, 16mm, 1976
Williamstown Nick Ostrovskis, 7 mins, super-8, 1988
The White Tree Nick Ostrovskis, 4 mins, super-8, 1987
Rough Geometry Nick Ostrovskis, 4 mins, super-8, 1993
Multitude Studies Richard Tuohy 18 mins, 16mm, multi-projection, 2009
Dirk de Bruyn
35 mins, 16mm, 1976
This early work of de Bruyn's is mesmerising in its cyclic nature. The juxtapositioning of negative and positive imagery not only distorts readings of space but also enhances the subtle seduction of the film flicker. The continuum of the figures' run around a Melbourne suburban block is fractured by sudden insertions of unrelated imagery that remind the viewer of the filmmaker's role as well as their own existence.
7 mins, super-8, 1988
"This film, [Williamstown], confirms... that Ostrovskis’ mission in life is to please the eyes of his audience." Bill Mousoulis
The White Tree
4 mins, super-8, 1987
The White Tree continued Ostrovskis exploration of the camera and filming found in his earlier works such as Backyard (1982) and Gertrude Street (1983) and unveils the artist by defining in its imagery the intense observation required of such practice.
5 mins, super-8, 1993
"There is an abstraction of the image that occurs in Nick Ostrovskis’ work but it is a very different one. ...[he] has produced a series of visually stunning kaleidoscopes of rushing images, colours, photographs and gestural movements, all with great technical virtuosity.
From works like Gertrude Street (super-8, 1982) and Family Album (super-8, 1983), to the recent 35mm film Colors (4 min, 1992), these films play with the physiology of the eye and its ability to grasp the flashed images that are thrown one over the top of another at you. A palimpsest of images are layered onto the eye. ... The rhythm of [the] works is very clearly in the kinetic movement between the images and often alternates between aggressive and soothing contemplative states." Dirk de Bruyn
18 mins, 16mm, multi-projection, 2009
Screening for the first time, this new work of Tuohy's explores the junctures between filming, processing, editing and performance.