iMAL

30 Quai des Charbonnages
Koolmijnenkaai, 1080 Brussels
Art Center for Digital Cultures & Technology

Cinema Parenthèse #28

.2021 19:00

Intro

Cinema Parenthèse and iMAL are very pleased to invite the german filmmaker HELGA FANDERL to present a personally selected super 8 film program. As a student of both Peter Kubelka and Robert Breer, Fanderl has created her own specific working methods, attitudes, and cinematic expressions. For instance, it is crucial for her to confront and work in the present, to process the various pro-cinematic impressions directly in the camera (as a kind of live filming) without any form of post-production. Here, her powerful and observant gaze captures small details on the street, the changing effects of sunlight, the different color expressions of things, and the spontaneous patterns of movement in the city and nature in beautiful, intense and flowing montages.

Fanderl practice is also characterised by the particular approach of presenting the films from the centre of the audience: usually she projects the films herself within the screening space where each unique program forms a montage of individual films that together combine a momentary and unrepeatable 'new' film. The interaction of varied motif, color and rhythm in the films, constantly generates new connections and interweavings which transform each screening into a distinctive and living performance.

“My films record encounters with events and images in the real world that attract me. There is no postproduction in my work. Every single film preserves and reflects the traces of its creation, the sensations and emotions I felt in the moment of filming.”
– Helga Fanderl

Biography

Helga Fanderl was born in Ingolstadt, Germany, in 1947. Her desire was to become a poet. But after her studies of German and Roman languages and literatures in Munich, Paris and Frankfurt am Main, she decided to become a teacher due to the influence of the Frankfurt School. Fanderl taught for years before finding out that for her film was the appropriate medium of artistic expression. It was not language, but visual art that opened the way to a very personal and intense poetic work. Since 1986 Fanderl has created a body of work consisting of around one thousand short films that she creates programmes for her screenings and also for exhibitions.

Programme

PROGRAM
Films (1992-2020)

INTRODUCTION
Cinema Parenthèse and Helga Fanderl

I
⋄ Karussell / Carousel
⋄ Wasserpflanzen / Water Plants
⋄ Blätter auf dem Glasdach / Leaves on a Glass Roof
⋄ Für R. / For R.
⋄ Im Jardin du Luxembourg / In the Luxembourg Garden
⋄ Wasserskulptur / Water Sculpture
⋄ Theo’s Pfirsiche / Theo’s Peaches
⋄ Im Sprühnebel / In the Mist
Super 8, silent, colour

II
⋄ Vögel am Checkpoint Charlie / Birds at Checkpoint Charlie
⋄ Ostberlin / East Berlin
⋄ Tunnel
⋄ Aus dem Empire State Building / From the Empire State Building
⋄ Tortelloni
⋄ Wilde Wasser / Wild Waters
⋄ Eisbär / Polar Bear
⋄ The Color Run
⋄ Mona Lisa (2013)
⋄ Löwenkopfbrunnen / Fountain with a Lion’s Head
⋄ Gasometer II
⋄ Schlittenfahren / Sledging
⋄ Im Schnee / In the Snow
⋄ Nacht am Kanal / Night on a Canal
⋄ Schneefall / Snowfall
⋄ Weiße Blumen / White Flowers
⋄ Wildgänse / Wild Geese
Super 8 to 16mm, silent, black&white

Q&A
Cinema Parenthèse and Helga Fanderl

Cinema Parenthèse

Cinema Parenthèse is a platform in Brussels, Belgium that invites alternative filmmakers and screens films in their original format. The screenings are based on a dialectical montage, the collision between single films and different film programmes, an ongoing series about investigating different film strategies in political and aesthetic manners.

Cinema Parenthèse is interested in filmmakers and individual films that want to go beyond - based on different practices - ethnographic and anthropological studies, field and archival work. Films that can be understood as an experimentation with the discovery and unveiling of places and people, acting as a melting pot for various social, political and cultural specificities and cross-cultural experiences. Camera positioning, architecture of the image, the pro-filmic (everything in front of and registered by the camera), the non-diegetic, the soundtrack, politico-cultural diversity and the challenges in representation are central concerns in the films we shall screen. Films which refers to a rethinking of both aesthetics and cultural representation, and show its ability to see film as cultural representation – as opposed to seeing through film. The resistance to the salvage paradigm lies not in abandoning its allegorical structure but by opening the mind’s eye to different histories, and seeks ways of revising the production of otherness in the representation. To deal with history and to overcome the binary oppositions in us and them and self and the others is also of vital interest within our project.

Cinema Parenthèse is also interested in film as structure or structure as film. Films that use different methods (optical printing, refilming, color separation, loops, superimposition) to manipulate and transform short film sequences or single frames in a structural and time-based manner. Cinema Parenthèse focuses on structural materiality, film as film and film as materiality. Films that - with different methods - bring out how deconstruction of the original material results in unexpected constellations and visual rebuilding for a 'new' film structure.

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