Sketchbook

KUBELKA at VIEWS… (2012/2016)

3 february 2017

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Austrian filmmaker Peter Kubelka screens film (actually short but characteristic excerpts as he speaks to audience before & after screening) plus a walk-about within his instillation MONUMENT FILM Sculpture, at Views from the Avant Garde, NY Film Festival, 2012 – filmed by HFisher with iPhone in 2012 and reworked as short sketch, Dec 2016. Description of project by Daniel Kasman is quoted below. His text refers to his own images, not mine and not reproduced here within his text. Google his name for his entire piece w/ pics:

Below see a description of the work from the website:
https://mubi.com/notebook/posts/images-of-the-day-peter-kubelkas-monument-film-sculpture

Notebook News
Images of the Day. Peter Kubelka’s Monument Film sculpture
Images from an installation constituting Kubelka’s new film, _Antiphon_, _Arnulf Rainer_ (1960), and the two combined.
Daniel Kasman
09 OCT 2012 LAST UPDATED ON 29 NOV 2016

Please excuse the reprehensible qualities of digital, composition, lighting and coverage in the below photos, but I thought I’d share a glimpse at Peter Kubelka’s celluloid sculpture at the New York Film Festival, “Monument Film”. It is being exhibited at the Walter Reade theatre in tandem with two screenings (accompanied by a lecture by the filmmaker) that occurred on Monday at the Views from the Avant-Garde of a new film work by Kubelka, Monument Film. This work isn’t a film so much as a material-projector-theatrical experience/performance: it began with a projection of his 1960 film Arnulf Rainer—a short of overwhelming, assaultive visual-aural intensity made up of black frames, empty (clear) frames, white noise and silence—and was followed by a projection of his new film, Antiphon, a work that is made up of the material inversion of Arnulf Rainer. Where the old film has a clear frame the new one has a black one, where one has silence the other has noise. (Though, as Kubelka pointed out, it is impossible to make this inversion totally exact, as over fifty years has passed between two films.) Next, the two works where projected side by side on the same screen in perfect sync. And finally, the two films were projected on top of one another, again in perfect sync.

The exhibit, as can only be partially be gleaned below, is installed on three walls: on the right, facing inward, is the entirety of Antiphon; on the left, facing inward (and seen only obliquely in my photo) is Arnulf Rainer. In the middle, facing outward, are the two films placed on top of one another.