L / S

Kino Pleme / Live Soundtrack

Built with Berta.me

1. Live Soundtrack 72 | Art Bioskop Kolarac,  24.6.2023. | 20:30
   
   Makunouchi Bento, TinnituS, Шестан, Zauvijek Hani

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   Makunouchi Bento
   
   

   Jedan od najistaknutijih eksperimentalnih elektronskih sastava iz Rumunije, temišvarski projekat Makunouchi Bento, čine Valentin Toma i Felix Petrescu. Tokom dvadeset godina bavljenja muzikom, njihov opus se kretao od IDM-a do sinematične elektroakustične muzike, uključujući i originalnu muziku za film, remiks albume, kao i saradnje sa drugim progresivnim muzičarima na preko tridesetak izdanja.
   
   https://makunouchibento.bandcamp.com/
   

    

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   TinnituS
   
   Projekat Ivana Ilića, započet 2017 godine, koji je orijentisan na istraživanje zvučnih prostranstava modularnog sintisajzera. U svom rezimeu sadrži i muziku za pozorište i kratke filmove, a tokom 2021. je pod ovim imenom izdao četiri izdanja za lejblove Bass Star Records, Ease Division i Spiral Trax.
   
   https://bassstarrecords.bandcamp.com/album/tinnitus-ad-noctum-basslp931-bass-star-records
   
   https://soundcloud.com/ivan-ilic-116067700
   

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   Шестан
   
   Likovni umetnik za koga je umetničko stvaralaštvo bilo gluvo dok nije otkrio muzičku ekspresiju. Kroz istraživački proces pokušava da dovede apstraktno do nivoa slušljivog.
   
   

   soundcloud.com/6ar

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   Zauvijek Hani
   
   Bend inspirisan talasima mora, vjetrom, radio bukom i niskim podvodnim frekvencijama dovodi drone metal do izražaja na domaćim prostorima.
   
   https://zauvijekhani.bandcamp.com
   

11. Photo album : 

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17. Film program :

19. Gavin Hipkins - A Place in Cosmos (New Zealand, 2020, 10’)

    
    Located in rural Aotearoa New Zealand, a full-scale concrete adaptation of Stonehenge is an active observatory and portal to other worlds. Shot on Super 8mm, this end-of-time silent film navigates science fiction tropes through spatial circularity and cosmic rhythms.

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21. Claudia Ungersback - lat.copiare (Austria, 2006. 4')
    
    
    asking the question of originality in a world of DIY Reproduction

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23. Josh Drake - Lightmare (US, 2020, 10')
    
    
    Lightmare was inspired by a group of youths who used to race motorcycles by my house. They would sometimes ride when I was trying to get my young daughter to sleep and caused great aggravation for me. The neighbors became quite worried as well and eventually the police were engaged to stop the racing, unsuccessfully. Stories began to spread about who the youths were and what poor conditions their parents were raising them in. The film attempts to capture the anxiety of the neighborhood, using negative space as a mask to subvert the audience’s expectations of horizon and depth. In contrast, much of the content underscores the triviality of the perceived threat. High levels of film grain enhance the effects of pareidolia, paralleling the human impulse to create stories for the unknown riders.

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25. Marianna Milhorat - Sky Room (US, 2017, 6’)

    
    Someone is missing. Plants grow, but at what cost? Technology threatens and seduces as humans attempt to solve a mystery through telepathy and mirrors. Stainless steel and broken glass strewn about an intergalactic discotheque. Commissioned by the Chicago Film Archives, with footage and sound from the archive chopped, manipulated and arpeggiated into a fertile mix of anthem and narrative.

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27. Jiayi Chen - Four Dances by Three Couples (US, 2021, 12’)
    
    

    Commissioned by the Chicago Film Archives, Four Dances for Three Couples repurposes found footages from educational and instructional films, news reels and home movies, to examine image-making mechanisms, reframe female bodies, bring minute surface details from the analog medium and unseen archiving labor to light, and capture a sense of longing and waiting amid a time of uncertainty.

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29. Alexander Fingrutd - Press Pound to Connect (US, 2019, 3’)

    
    This film was hand processed, shot on 16mm film, and created using a masking technique and appropriated images. The nine equal parts reference the Pound Symbol on a telephone keypad. Here, it is used as a symbol for connection. We are connected to more than what is immediately around ourselves: to each other, the planet, and the farthest galaxies. What distant things are having an effect on us and what are we non-visibly affecting? The similarities between these connections are represented through overlapping images. It shows a change in perspective, going from the individual singular self, to a view where there is no divide between self and other. It brings us to a cosmic, all-encompassing view, divided in space and tied together through telephone wire.

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31. Vasilios Papaioannu - Parenthesis (US, 2021, 4’)

    
    In this lonely contemplation of a past summer, the ancient promontory becomes a parenthetical projection of frantic lines and alternating impressions.

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33. Leonardo Pirondi - In Search of Mount Analogue (US, 2021, 4’)
    
    

    In Search of Mount Analogue journeys through ocean and land, bringing life to the imagined, metaphorical, and mysterious island from the 1952 novel, “Mount Analogue,” by René Daumal. The film uses 16mm film to capture computer-generated images that create an immersive, but rather odd, landscape of Mount Analogue.

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35. Alicia Mujynya - Light Hole (USA, 2023, 8')

    
    "Light Hole" was produced with the aid of an optical printer and a MiniDV tape my father filled back in 2001. As part of his home movie collection he taped my grandfather's own home movies.

    Neither I, my father, my grandfather, nor subsequent viewers know the lived experiences of our subjects. We can only assume. With each subsequent iteration we can then apply our own perspectives, molding the manner in which an onlooker experiences pre-existing reality.
    
    At the end of the day, on earth, above, within a place past nothingness, there is a hole, rip. Burning pain causing light, encompassing all. Pain so strong and the light so bold, that I’ve begun to see my mother’s shoes and my great grandmother's skirt.

    How beautiful it must be to be the hole. How lovely it must be to know the names and faces of all the people before me. Why do I not know the name of the old woman with the cane?

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