Sunday, November 17, 2013
The Basis of Make-Up I-III is the primal soup that stands behind Heinz Emigholz abundant body of work. This life-size film compilation, depicts two decades of notebooks in an unstoppable flickery flow. A blend of collages, workaday writing and filming is intersected by elaborate drawings halfway between medical and technical illustrations which somehow encapsulate the author's highly personal time and vision.
Alexandre Estrela after Ezra Pound
Monday, March 18, 2013
Thursday, November 8, 2012
Sunday, September 30, 2012
"floating words in an echo world"
Friday, April 27, 2012
“Shadows from a flaming tongue."
Saturday, April 28, 2012, 10 pm
Friday, March 9, 2012
Wednesday, January 18, 2012
by Henry Hills
16mm film, color, sound (optical), 15', 1985
The mechanical specificities of film made it by far the most adequate medium to reveal cities’ inner rhythms. In the early 20th century, a film genre coined City Symphony vividly captured on celluloid the core of cities like Berlin, Paris, Odessa and Oporto. Pioneer filmmakers such as Ruttman, Sauvage, Vertov and Oliveira were able to translate and synthesize the urban struggle towards modernity, while channeling it towards a highly subjective mechanical ballet.
The film "Money", composed by the synesthetic genius Henry Hills, might be the last of the City Symphonies. The film is a concrete collage, a masterpiece that unveils New York City’s ultra fast inner currents, fueled by the lack of money and the creativity of its inhabitants. From the remainings of a city destroyed by financial crisis, Henry Hills builds up the ultimate mechanical view of his town.
“Rapid movements for the listening eye.”
Saturday, January 21, 2012, 11 pm
Monday, November 14, 2011
by Robert Nelson
16mm film, color, sound, 33', 1970
Robert Nelson is a celebrated film-maker that turned down the glories of the avant-garde for the joys of backyard projectionism. His films are ironic constructions, open questions made for the pleasures of gathering. “Bleu Shut” fits right in the so-called tradition of participatory-film. The film is an experiment built around a guessing game, where the act of “seeing is forgetting the name of the thing one sees”. *
*title of book by Robert Irwin
“On the cognitive mechanisms of boat-naming and its effect on the uncertainties of the real.”
Friday, November 18, 2011, 10.30 pm
Tuesday, October 25, 2011
Monday, October 17, 2011
Friday, June 17, 2011
by Wallace Berman
16mm film, color,silent, loop, 1956-1966
Jorge Luis Borges describes the Aleph as a converging point of infinitude and simultaneous space, that he saw materialized on the 19th step of a staircase in an old building. In his description he mentions that this strange phenomenon can appear in other specific places.
Oporto is fortunate to have the perfect conditions to host once again an Aleph. It is a hidden staircase camouflaged by a fake desk, once used by the sailors to flee from PIDE (Portuguese fascist police). The present Aleph is a film by the visual artist and self-publication wizard, Wallace Berman; a poetic concentration of images portraying the artist's time, life, influences and work. Structured on the Kabbalah, "Aleph" is simultaneously a meditation on everyday life and a cryptic beat trip into infinite time and space.
" The narcotic to the flower"
Wednesday, June 22, 2011, 10.30 pm
Sunday, April 3, 2011
"You don't bring me flowers"
by Michael Robinson
16mm film, color, with optical sound, 8', 2005
Since the beginning of this millennium, Michael Robinson has been making film and video as trigger-objects for basic emotions. His work is a compilation of complex riddles, trails leading to ambiguous regions, places meant for the hard task of feeling. His narratives are deeply sensorial, warranting themselves difficult to translate into words.
Oporto is now presenting the film "You don't bring me flowers", a sublime diving experience into a succession of nostalgic images, centerfold pages from vintage National Geographic magazines.
"on deep image reading and other simmetry laws"
Friday, April 8, 2011, 10.30 pm
Monday, January 10, 2011
by Phill Niblock
16mm film transfered to video, color, sound,8.5', 1969
If there is still someone with a nonconformist and experimental spirit in New York, that person is Phill Niblock. Since the sixties that the artist explores the power of sound and images to generate new frontiers and limits of perception. Despite being a reference in the field of music, it was the film that led him to take the first steps in time-based-arts. Phill Niblock began by making structural experiments, short dance and sound films in collaboration with artists as diverse as Yvonne Rainer, Sun Ra and Max Neuhaus. After this period, Niblock starts to investigate the film medium itself by focusing on the inflow of movement in its various expressions. Working with a wide range of simple images, travel and ethnographic captures, landscapes or just abstract compositions, Niblock overlaps successive layers of sound, creating an open field, impervious to any definition.
Oporto presents "Dog Track ", a film that juxtaposes an inhuman sound, devoid of emotion, coming from a psychoanalytic interview, to images and landscapes of non-verbal beauty. "Dog Track" roughly exposes us, to an hypnotic report, a sad and monochordic chant produced by an impossible relationship.
"The saddest song on earth" Alexandre Estrela
Sunday, January 16, 2011, 10.30 pm
Friday, December 3, 2010
by Shana Moulton
Video, color, sound,20', 2006-2008
For the last few years Shana Moulton has been creating a persona, named Cynthia, halfway between the mute Monsieur Hulot, from Jacques Tati's film "Play Time", and the hypochondriac Carol White, the suburban homemaker from Todd Haynes' "Safe". In Tatis' film, Hulot clumsily drifts in a modern world surrounded by modern incomprehensible stuff. Cynthia is also surrounded by a puzzling set of postmodern home kitsch and TV-Shop paraphernalia, to which she connects emotionally barely knowing their use. As Carol, Cynthia seeks, for a safe place, an escape for a healing dimension, a transcendental gateway that she finds hidden it in each object.
Oporto is now presenting from the series "Whispering Pines" some key chapters of Cynthia's domestic "walkabout".
"Notes on the untenable lightness of things"
Tuesday, December 07, 2010, 11 pm
Thursday, July 22, 2010
by Lewis Klahr
16mm film, color, sound (Optical), 14 ', 2003
Lewis Klahr is the long waited follower of and Joseph Cornell´s surrealist legacy. His films are unique cinematic-collages, uncanny streams of scenarios where subjects and things try (and fail) to fall into an order.
Daylight Moon is an elliptical narrative, a detective story told in images and shadows from old Americana comics and ads. The film reveals a subtle unconscious quest for the unnamed pleasure or crime.
"a melancholic longing for an irrecoverable past" Alexandre Estrela