Photo/ Chemical screening

Co-curated by visiting curator Marcy Saude and Cinestar’s Jacqui Knight
Saturday 14th, 14:00 - 15:30
Venue: Murdoch House, Cross Street, Redruth 
FREE

Photo Chemical is a programme of handmade 8mm/ 16mm films from artist-run, DIY moving image labs in Europe. Films will be projected in their original form, giving a chance to enjoy the special character of analogue film.
 
All films projected on 16mm film.
TRT: 58 minutes (plus reel change breaks)
Balga- Lichun Tseng, 5’, mute, b&w, 2012
This film is inspired by a plant native to Australia, the grass tree. I was attracted by the slow growth of the trees, their spectacular figures and the ways in which their existence connects the land, the plant and the people. High contrast black and white film was used to capture and document the movement of the grass tree, as a way to reflect their visual poetry.
Rode Molen- Esther Urlus, 5'15”, sound, color, 2013
Research into motion picture printing techniques, inspired by the mill paintings of Piet Mondriaan. In the film color is created by multiple exposures through different masks during printing. Depending what developing process is used the colors mix in two ways: additive or subtractive.
Pixel Jungle- Klara Ravat, 3’30”, mute, color, 2015
Structuralism, visual music and Pixels, a Jungle of grain. The similarity between the “grain” an Inkjet printer can give and 16mm celluloid film texture.
Invisible Dialog- Karel Doing, James Holcombe, Rosalind Fowler, Emilie Atkinson, 2’44”, sound, b&w, 2014
A collaborative experiment in which four people shoot one quarter of the film each using a Bolex and matte box, engaging in an invisible dialogue with each other via the masked sections of the image. Each person also records 2.5 minutes of sound which is played back at the same time and optically recorded onto the film strip before final processing. The filmmakers are interested in the synchronicities and frictions that might surface through this method of working, and the possibility that the essence of their intentions might somehow be subconsciously transmitted to other members of the group during the process.
Salt- Martha Jurksaitas , 7’48”, mute, color
A vision of women enjoying the sea in Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea.
 
Skylon- Quintin Marcham, 4’30”, sound, color, 2012
In the Traveller’s Heart- Distruktur,  20’, sound, color, 2013
The winter reigns as the Traveler crosses an ancient landscape by foot.
In this place there's also another presence, someone who's very similar to the Traveler. Does the Traveler realise this figure that cohabits the same space as him? Is the other a guardian angel or a devil?
Noisy Licking, Dribbling and Spitting- Vicky Smith, 4’, sound, 2013
From my series of ‘physical’ films, in which  films marked using the full body advance upon the more commonly found manual methods for making films without cameras. Physical stains are hosted by film as it absorbs and holds juice and saliva in its gelatin skin. The soundtrack is similarly structured, so as measured licks explode into random spits,  the metric rasping noises burst into a clamour of ‘speech’.  In this reversible process, film is made more physical,  while the body moves mechanically; the trace of bodily flows and pulses joined to film’s beat generate distinctive rhythms.
Sillages # 2 - Aurélie Percevault & Antoine Ledroit, 5’30”, mute, color, 2010
A road movie without any car. Webcam stills to Super 8 to 16mm. A presence by an absence. Condensation and repetition of the past, these fleeting moments captured and forgotten.