Artist Mariana Silva presents her museum filmworkUne affaire de creux et de bosses, alongside the diffusion of a unique historical perfume. Adam Roberts explores the power of absence in his Grindhouse-derived film Remake. Followed by Q&A.
Remake (Adam Roberts; 2011) 31 mins
Remake is a re-shooting of Atom Age Vampire, which is a dubbed version of Seddok, l’erede di Satana, which is a remake of Les yeux sans visage (Georges Franju, 1960). More or less, the shots have been recreated to preserve the framing, focus and moves of Seddock's camera - minus its cast. The texture and image quality of the film is intended to evoke the poor quality of films that once circulated on poor 16mm prints, worse VHS tape and now in extremely poor YouTube copies. This film also exists in limbo - rights unclaimed and untraceable - known only to a few, a predicament of a number of films that are now known as 'orphan films'. Remaking is a familiar process, harking back to copies of paintings made in a previous era.
This film is an experiment, removing the human presence from the film frame but preserving the effect of human presence. It is a response to Gorky's comment that film is a "kingdom of shadows": he was talking about seeing film images of people as ghosts, preserved eternally on a film of emulsion. I thought to remove these ghosts and see what remains. (AR).
Adam Roberts (www.adamroberts.eu) is a film-maker and co-curator (with Joanna Hogg) of the acclaimed screening series A Nos Amours (www.anosamours.co.uk).
Une affaire de creux et de bosses (Mariana Silva, 2011) 30 mins
Une affaire de creux et de bosses is visual and olfactory experience. The camera pans through several views of the Louvre, collected from a book of prints. Parfum à la Guillotine, recreated by L’Parfumeur (Lourenço Lucena), was originally devised to counteract a decrease in perfume sales and cater to the spirit of the French Revolution. The event is a mise-en-abîme of references to the iconoclasm that founded the first museum, a symbol of pillage in the name of a visual history the museum would establish and return to the people.
This screening takes place on the occasion of the artist’s solo exhibition at the Mews Project Space, curated by João Laia.
Mariana Silva lives and works in New York. Her first solo exhibition “The Organization of Forms” took place at Kunsthalle Lissabon in 2011. She has shown in group exhibitions in Oporto, Tallinn, Lisbon and New York. She was in residence at the 5th Sommerakademie (Paul Klee Zentrum, Bern 2010) and at the ISCP (New York 2009-2010).
*Proof of concession or membership to be shown on the doors.