LET’S SEE
Kenneth Zoran Curwood likes to take apart cameras and projectors, sometimes successfully re-purposing them to re-photograph films one frame at a time. He then processes the film in home-made chemical mixtures, with often dismal results. Please enjoy.

MAGIC KINGDOM
Waves of neon light unleash a sea of pastel visions. Comprised of footage shot in Disney World while on family vacation. The use of extreme close-up and color negative creates a way of looking that revels in the surface, texture and materiality of the images.
Stephanie Wuertz is an audiovisual artist based in New York working in a wide range of media both appropriated and original. Her work is concerned with uncovering the repressed in vision and by authoritative discourse surrounding the body. She is interested in the intersections between art, technology, and science. She earned her BFA in Computer Arts from Memphis College of Art and received an MA in Media Studies from The New School. She has screened and performed live projections of her work at such venues as White Box Gallery,  Microscope Gallery, CoExist Gallery, Cherry Kino Lab, Issue Project Room, The Schoolhouse, Live with Animals, and Anthology Film Archives. 

STUFF OF OUR DREAMS
An altered Super 8 clip of flamingos combined with a TV game show to comment on the 2010 Gulf of Mexico Oil Disaster in Louisiana; no doubt, a vain protest against mindlessness. As a car is given away on TV to its winner, a TV news reporter’s voiceover asks how many miles of shoreline have been affected on a particular day after the initial disaster. This question, heard at the end of the film, appears as written text in several languages throughout the piece. Does living the life style of “car-dom” doom our future? Is there anything that we can do to prevent disaster from striking?

Using stylized gestures used as a mode of ritualistic format and screen performance, White’s modus operandi is often an exploration on the subject of relationships of power and repression; often drawing from ancient stories re-contextualized into meditations on the world in which we live and the ramifications of inaction and stagnation. Influenced by art and its history; informed by Eastern philosophy and psychological theory, White’s work has been called “a magical act” with editing technique akin to “automatic” writing

LOOSE CHANGE
Victoria Campbell has made a handful of short films and one feature length documentary titled “House of Bones” about her family. The documentary/memoir has appeared in 4 film festivals, winning two awards. Her short film “MOJAVE” premiered at the Toronto Indie Shorts Film Festival this past August. She is interested in weaving non-fiction documentary with experimental film, finding new ways to tell stories combining narrative with non-fiction and the every day, old film footage with digital footage, past with present. She hopes to create a new genre out of documentary with the tremendous freedom it gives the filmmaker both physically and financially. Currently she is enrolled in the MFA program for social documentary at The School of Visual Arts in New York City. She has also screened her work at Millennium Film Workshop. Her background is in theatre, poetry and foreign languages. 

SPRING/MOTT
LIBERATION FROM BLINDNESS
Jay Hudson is a Brooklyn-based filmmaker who specializes in Super 8 film and is active in the New York City film community. He has shown his work at various cinema venues and has collaborated with XYZeta Projects/Jimena Paz on Empty Lot, an interdisciplinary dance performance.

INTIMATE MACHINE
FEEDBACK
Shona Masarin is a New York City based Australian film artist whose work involves the physical, alchemic, and sculptural manipulation of found images and materials to create abstract animations. Finished works have taken the form of of Super 8mm or 16mm films, film performances with live music, and installations; presented at film festivals in Australia, including the Melbourne International Film Festival, and at various alternative art spaces and galleries in Brooklyn.

L’ABOMINABLE – do-it-yourself film lab in Paris –
Film Program in support of Film Labs (79 mins)

Since 1996, L’Abominable has provided artists and filmmakers the tools to develop, rework and edit film material and to strike prints. Over the years, the laboratory has been patiently upgraded with new machines offering new opportunities to all those who work on silver celluloid. Over 250 works have been produced here, whether films in and of themselves, or elements for “live” film performances or art installations.
L’Abominable was expelled this summer, after 15 years, from its premises after a brutal and sudden procedure conducted by the new owner. Another victim among many of the voracious hunger of real estate speculators, its activities are currently on hold. While waiting to find a new space to rebuild this vital laboratory, a few filmmakers have agreed to make available a personal copy of their film in order to form this program.

SUNDAY 18 Sept | Bíó Paradís | kl.20.10 | 950isk

L’Abominable is an artist-run film lab. It offers tools to artists and film-makers for developing, reworking, editing and printing super-8, 16mm and 35mm movie film.

Frédérique Devaux
K3 (LES FEMMES)
2003 / 16 mm / color / sound / 5’

Nicolas Rey
TERMINUS FOR YOU
1996 / 16 mm / b&w / sound / 10’

Emmanuel Lefrant
PARTIES VISIBLE ET INVISIBLE D’UN ENSEMBLE SOUS TENSION
2009 / 16 mm / color / sound / 7’

Stefano Canapa
PROMENAUX
2000-2001 / 16 mm / b&w / sound / 12’

Pip Chodorov
CHARLEMAGNE 2: PILTZER
2002 / 16 mm / color / sound / 22’

Olivier Fouchard
NEUF ET DEMI
1999 / 16 mm / b&w / silent / 3’

Martine Rousset
MER
2003 / 16 mm / color / sound / 20’

Sign up now at kinosmidja@gmail.com

SEPTEMBER! weekends 3,4 & 10,11
This course explores hand-painted films, scratch films, photogram films, hand processing, editing, and screening a short work.

for supporting our kinosmiðja workshops at Hlaðan and within the school system of Suðurnes!