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Los Angeles

BETALEVEL

Exhibition Detail
Wonderers and Their Shadows on Film
963 N. Hill Street
in alley on left side of Full House
Los Angeles, CA 90012


December 8th, 2007 8:00 PM - 10:00 PM
 
OPENING, OPENING,
2007, still from a 16mm color film, 25 min.
Footnotes to a House of Love, Laida LertxundiLaida Lertxundi, Footnotes to a House of Love,
2007, still from a 16mm color film, 13 min.
© 2007
Footnotes to a House of Love, Laida LertxundiLaida Lertxundi, Footnotes to a House of Love,
2007, still from a 16mm color film, 13 min.
© 2007
Footnotes to a House of Love, Laida LertxundiLaida Lertxundi, Footnotes to a House of Love,
2007, still from a 16mm color film, 13 min.
© 2007
OPENING, Madison BrookshireMadison Brookshire, OPENING,
2007, 16mm color film with sound, 25 min.
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> QUICK FACTS
EVENT TYPE:  
Screening
WEBSITE:  
http://betalevel.com/
NEIGHBORHOOD:  
chinatown
TAGS:  
film, experimental/performance, underground, avant-garde, 16mm
> DESCRIPTION
Madison Brookshire, Sandy Ding, Laida Lertxundi and Mary Beth Reed in person! 
@ BETALEVEL

Click here for dirctions.

An evening of experimental film with live music by Tony Cantor, Mark So, Tashi Wada and Douglas Wadle.

Madison Brookshire - OPENING - Using everyday images of overlooked spaces, OPENING finds the strange within the ordinary. A collection of off-ramps, power lines and alleys reveals the city in the landscape and the landscape in the city. Mark So, Tashi Wada and Douglas Wadle will accompany OPENING.

Sandy Ding - Water Spell - "A journey from realism to a supersensory realm, slipping under the surface and between molecules at a micropscopic scale. Channeling the subconscious, Water Spell is both odyssey and invocation; a ritual of transformation and retinal blast. The film releases the energy locked within its frames through flickering pulsations of light." - Mark Webber
 
Laida Lertxundi - Footnotes to A House of Love - series of shots in a California desert landscape in which there is a play between on frame and off frame sound. There is an effort to create the space of a story, without a story, by the use of real time/diegetic sound. The film is laboriously honoring play. Love is felt as a force that remains almost off the frame and determines the arrangement of the figures in the landscape.

This film was made with: Sandy Ding, Eliza Douglas, Laura Merando, Sally Oviatt, Lucas Quigly and Laura Steenberge.

With music by: Leslie Gore, Ari Up, The Kinks, The Shangri-Las, Henry Flynt, Laura Steenberge and The Crystals. 


"Laida Lertxundi's Footnotes to a House of Love, also set in southern California, was in some ways the aftermath to the apocalyptic buildup of SpaceDisco-One. The desert, so often a stand-in for other places imagined by Hollywood, here is barren and bright, set to the tune of Leslie Gore and the Kinks playing through an intrepid little tape deck. The tinny sound carries through a broken-down house, a house without walls and whose door falls down the moment someone tries to open it. People drift by and a couple makes love on a sheet laid out in the sand; it's not clear where the house ends and the desert begins. The music plays in most of the film like a radio signal, a relic of another time, now gone. The film is pervaded with the sense of something having happened, though we're given only brief glimpses of what came after."  - Genevieve Yue, Senses of Cinema


"Laida Lertxundi's F
ootnotes to a House of Love is the type of thing you hope for at a festival: something remarkable by someone you've never heard of. Not much happens in the film – much to its credit. A young couple inhabits a dilapidated house in the California desert. They read, play the cello, piss, but mostly just walk about. Their actions, however, are entirely peripheral to the film. Footnotes is most centrally about the presence of place, the house and the desert beyond, and the possibilities they seem to invite. Narratives and relationships are only just hinted at and seemingly swallowed up by the surroundings. There is a subtle mysteriousness to the place that could easily have made it a site for terror, or at least danger, but this is constantly leavened by a gentle, disarming playfulness and teasing." - Patrick Friel, Senses of Cinema

Mary Beth Reed - Moonstreams - "Mary Beth builds up a surface tension that seems quite rocky and solid. This surface gradually begins to crumble and a bubbling of dusty gold begins, like a geyser, to break up this tension. The surface of paints and rhythms begins to flow with the water and everything inside of the body of work begins spilling out until electrical creative charges accompany the liquid gold and rock. Suddenly, out of this storm comes a red and yellow explosion of warmth and creativity, spilling out over the body like a lava flow." - Courtney Hoskins

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