CINEMA 2.0: Media Art Exhibition: HARD CINEMA

10/2-3/3 / 12nn - 8pm / Pao Galleries / Free Admission / Opening Ceremony on 10/2 6:30pm
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Cinema has often been considered as a form of virtual experience: elusive, weightless and immaterial. In the forthcoming edition of CINEMA 2.0, Hard Cinema is interested to explore the physicality, materiality and spatiality of cinema: the “other” dimensions of cinema that are often being systemically neglected under standard film practices and spectatorship. We will re-examine cinema’s material being and survey alternative practices of cinema that address issues of materiality and spatiality. Through this probing, we attempt to unleash cinema’s creative potentials, extending and experimenting cinema as a tangible, sculptural, kinetic and spatial medium.

Curator:
Ip Yuk-yiu

Featured Artists:
Rosa Barba (Italy / Germany)
Gebhard Sengmüller (Austria)
Peter William Holden (United Kingdom)

Invisible Act (2010)
Rosa Barba

Invisible Act is one of Rosa Barba’s sculptural orchestrations that ultimately open up into a conceptual practice. These works develop an almost multi-sensorial effect due to their special treatment of material, form, surface, light, and sound. The absence of a projected image causes the focus to shift to the material, thus heightening the sculptural effect. 


Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints (2012)
Rosa Barba

The three sculptures Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints are “kinetic paintings”: Three big mechanical instruments in which 35 mm strips are constantly moving, each of them reproducing a colour – red, blue and yellow – with a word. These sculptures are reminiscent of the internal mechanism of a clock but they are different in the sense that they do not define time but reverse it in an endless loop. It’s a meditation on colour, time, perception and language, on the meaning of a word when repeated to infinity.。


Stating the Real Sublime (2012)
Rosa Barba

Suspended from the ceiling by the diaphanous loop of film that spins through its system, casting an anamorphic square of light that stretches across the floor and up the wall. The film it projects has no image, other than the dust scratches that breed on the surface of the celluloid, slowly accumulating over the course of the exhibition. The power cable slumps untidily to the floor beneath the projector in a disorderly coil, as if to contradict the taut rationality of the loops above it, implying the projector is invested with alchemical powers to transform entropy into order unless, of course, it is the other way around.


Slide Movie (2006 on going)
Gebhard Sengmüller

A film sequence (35mm motion picture) is cut up and the individual frames are mounted as slides. They are distributed among 12 slide projectors that are all focused on the same screen.

Via electronic control of the projectors, individual images are reassembled-in an extremely cumbersome way-into a chronological sequence.

The formula “one projector per frame” thus gives rise to something that at least rudimentarily suggests a motion picture. The film soundtrack emerges as a byproduct – the mechanical clattering of the projectors changing slides.


AutoGene (2005)
Peter William Holden

Giving a first impression of a simple commodity sculpture, AutoGene lures the viewer into a false sense of security, which is rapidly dispelled when the seemingly mundane umbrellas are transformed into magical, animated objects. The circular arrangement combined with the striking contrast produced as the umbrellas expand and contract engender the formation of abstract ephemeral patterns, which are seemingly governed by the accompanying music. The viewer is obliged to re-evaluate the sculpture, inviting comparisons with dance and animation as the mechanical pixels complete their choreographed movement through time and space.


Rosa Barba

Rosa Barba (born 1972, Sicily) lives and works in Berlin. Her work engages questions of time like inscriptions in landscapes, language, cuts across history and subject matter.

Rosa Barba studied at the Academy of Media Arts in Cologne and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Her recent selection of solo shows include: Turner Contemporary, Margate, UK, 2013; Fondazione Galleria Civica-Center of Research on Contemporary Art, Trento and MART Museum, Rovereto, Italy, 2011; Tate Modern, Level 2, London, 2010. She has also participated in group shows amongst others at Swiss Institute, New York; 19th Biennale of Sydney; 52nd and 53rd Venice Biennale etc.

The monographs Rosa Barba: White Is an Image (2011) and Rosa Barba: Time as Perspective (2013) were published by Hatje Cantz and the monograph Rosa Barba: In conversation with (2011) by Mousse Publishing.


Gebhard Sengmüller

Gebhard Sengmüller is an artist working in the field of media technology, currently based in Vienna, Austria. Since 1992, he has been developing projects and installations focusing on the history of electronic media; creating alternative ordering systems for media content; and constructing auto-generative networks. His work has been shown extensively in Europe, the US and Asia, among others in venues such as Ars Electronica Linz, the Venice Biennale, the Institute of Contemporary Arts London, Postmasters Gallery NYC, the Museum of Contemporary Photography Chicago, or the ICC Center Tokyo.


Peter William Holden

Peter William Holden was born in the UK and is now living in Germany. His works explore ways of dissolving the boundaries between cinematography and sculpture, with a fascination with moving imagery and transformation of objects. He uses computers combined with mechanical elements to create installations which focuses on an ephemeral choreography. His works have been exhibited all over the world, and winning awards such as the First Prize in media arts at the 13th CanariasMediafest in Spain.


Related Programme:Workshop – Visceral Cinema: VR and physical interaction

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