February 29, 2016

Frans Zwartjes’ MEDEA

Filed under: film as subversive art — ABRAXAS @ 12:10 pm



Filed under: film as subversive art — ABRAXAS @ 7:33 am


book your tickets here: https://en.rotterdam.info/agenda/layers-1-fossils/

January 19, 2016

A Movie by Jen Proctor

Filed under: film as subversive art — ABRAXAS @ 9:43 pm



January 11, 2016

iterations – gregg biermann

Filed under: film as subversive art — ABRAXAS @ 11:01 pm



pure virtual function – peter lichter

Filed under: film as subversive art — ABRAXAS @ 6:40 pm



January 8, 2016

Iowneom Streets – Lucia Moreno

Filed under: film as subversive art — ABRAXAS @ 1:06 pm




Filed under: film as subversive art — ABRAXAS @ 10:31 am



January 6, 2016

KEllY GALLAGHER – Pen Up The Pigs

Filed under: film as subversive art,politics,race — ABRAXAS @ 10:43 am



January 5, 2016

César Ustarroz reviews THE ARCHIVE EFFECT

Filed under: film as subversive art — ABRAXAS @ 10:48 am


Issue #1
October 2015

December 23, 2015

JACK SARGEANT – Flesh and Excess: On Underground Film

Filed under: film as subversive art,Jack Sargeant — ABRAXAS @ 8:47 am


order your copy here: http://www.amokbooks.com/titles/flesh-and-excess-on-underground-film

November 27, 2015

Flesh and Excess – Jack Sargeant


November 13, 2015

Flesh and Excess – Jack Sargeant

Filed under: film as subversive art — ABRAXAS @ 4:31 pm

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Screen shot 2015-11-13 at 4.28.19 PM
order your copy here: http://www.amazon.com/Flesh-Excess-On-Underground-Film/dp/1878923285

Flesh and Excess

Filed under: film as subversive art — ABRAXAS @ 7:34 am


October 4, 2015

eyes without a face

Filed under: film as subversive art — ABRAXAS @ 12:24 pm

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September 30, 2015

found footage magazine #1

Filed under: film as subversive art — ABRAXAS @ 9:46 pm

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order it here: http://foundfootagemagazine.com/issues/

September 29, 2015

society of the spectacle now online in english version

Guy Debord (1931-­1994) was the most influential figure in the
Situationist International, the notorious subversive group that played
a key role in provoking the May 1968 revolt in France. “The Society of
the Spectacle” (1973, 90 minutes) is Debord’s film adaptation of his
own 1967 book of the same name. As passages from the book are read
in voiceover the text is illuminated, via direct illustration or various
types of ironic contrast, by clips from Russian and Hollywood features
(“Potemkin,” “Ten Days That Shook the World,” “For Whom the Bell Tolls,”
“Shanghai Gesture,” “Johnny Guitar,” “Mr. Arkadin,” etc.), TV commercials,
softcore porn, and news and documentary footage, including glimpses of
Spain 1936, Hungary ’56, Watts ’65, France ’68, and other revolts of the
past. Inter-title quotes from Marx, Machiavelli, Clausewitz, Tocqueville,
and Debord himself occasionally break the flow, challenging the viewers
to question their own relation to the film — and to the society as a whole.

San Francisco filmmaker Konrad Steiner has produced a dubbed version
of this film using Ken Knabb’s English translation as read by artist/scholar
Dore Bowen. Konrad also located and reinserted the original English-language
clips from the many quoted films (which in Debord’s film were mostly dubbed
in French). This enables English-speaking viewers to pay full attention to
the images instead of trying to follow subtitles, and thus better perceive the
complex interplay between montage, image, and language through which
Debord presents his theses.

This excellent dubbed version is now online at https://vimeo.com/139772287

(English overdub) The Society of the Spectacle (Final sound edit) from konrad steiner on Vimeo.

For more information on Debord’s films, see http://www.bopsecrets.org/SI/debord.films/index.htm

theodoor steen reviews venom and eternity for dummies


first published here: http://www.salonindien.nl/2015/van-kerkhof-naar-kaganof-isous-venom-and-eternity-en-kaganofs-kyodai/3/

VENOM AND ETERNITY FOR DUMMIES from African Noise Foundation on Vimeo.

baudrillard on cinema and reality

Filed under: film,film as subversive art,philosophy — ABRAXAS @ 8:49 am

The virtuality of war is not, then, a metaphor. It is the literal passage from reality into fiction, or rather the immediate metamorphosis of the real into fiction. The real is now merely the asymptotic horizon of the virtual.

And it isn’t just the reality of the real that’s at issue in all this, but the reality of cinema. It’s a little like Disneyland: the theme parks are now merely an alibi – masking the fact that the whole context of life has been disneyfied.

It’s the same with the cinema: the films produced today are merely the visible allegory of the cinematic form that has taken over everything – social and political life, the landscape, ware, etc. – the form of life totally scripted for the screen. This is no doubt why cinema is disappearing: because it has passed into reality. Reality is disappearing at the hands of the cinema and cinema is disappearing at the hands of reality. A lethal transfusion in which each loses its specificity.

If we view history as a film – which it has become in spite of us – then the truth of information consists in the post-synchronization, dubbing and sub-titling of the film of history.

Jean Baudrillard
The Intelligence of Evil

July 10, 2015

filmer a tout prix

Filed under: film as subversive art — ABRAXAS @ 4:05 pm

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May 30, 2015

the enemy of art is

Filed under: art,film,film as subversive art — ABRAXAS @ 11:18 pm

“to do something interesting in so called Art, you have to have an enemy. The more powerful the enemy the better, so you must hide what you really think; then you find the formula probably which squeezes between Scylla and Charybdis. The collapse of the Polish cinema today is because they have no enemy. There is no enemy politically now, they all want money therefore capitalism is not an enemy.”
andrzej zulawski
read the full interview here: http://offscreen.com/view/an-interview-with-andrzej-zulawski-and-daniel-bird

May 14, 2015

Christofer Pallú’s List of best films of 2015 thus far

Filed under: film,film as subversive art — ABRAXAS @ 2:10 pm


first published here: http://letterboxd.com/christoferp/list/2015/

May 4, 2015

jonas mekas on avant garde cinema today

Filed under: film as subversive art — ABRAXAS @ 10:15 am

In an earlier interview with Hans Ulrich Obrist, you said that “The oppositional stance [of the avant-garde] is needed only psychologically; it is like an excuse to make a drastic change in their practices.” Does this still seem to be the case?

It’s dictated by the society. There will always be political cinema taking various forms—there always was and there always will be. A position could also develop against certain styles that become overused. When George Maciunas and others said they were against art, they did not really mean it. You can see what they produced as art today, but it was a legitimate stance, to rebel against certain established forms or content. Now, people are beginning to rebel against how art is exhibited and sold, against the commercial galleries that reduce art to how much it can sell for. There are smaller galleries emerging in Brooklyn that are very much against the system. Some of them get caught in the same game, but there is an oppositional move in the gallery world against Gagosian and the art fairs.

Speaking of “the system,” what do you make of the explosion of the art market in the past 10 or 20 years?

It’s a transitional stage. Maybe we are at the end. I was in St. Petersburg at the Hermitage, which had just opened its contemporary art wing. While I was there the director Mikhail Piotrovsky showed me this new wing, and there it was: Malevich’s Black Square. It was displayed along with a Fluxus show and my own 365 Day Project for the opening of the wing. It was made exactly 100 years ago this year—to them, that’s where Modern art begins.

But now we are 100 years later, and I think that Modern art has exhausted itself, just as Postmodernism has exhausted itself. We may be in some kind of dead spot now, where all that’s left is money. Whatever you make you can sell, if you put money into selling it. When you go to the Whitney Biennials, which I’ve stopped going to, it’s all the same. My feeling is that we’re in a transitional period. What will come, I don’t know, but I think it will of course be affected by new technologies. I crave the smell of paint and colors, not the new technological colors but real paint produced by ground stones.

It’s interesting to hear you say that, because you’ve clearly embraced digital filmmaking.

Yes, but when I see a physical film projected on a digital screen, one that had no silver crystals in it, I get angry, almost. Film should be projected only on silver screens that were made reflective specially for film, because it is a reflective medium. You have to love it for what it is, for what it’s all about. Video is different, and you love video for what video is. Each medium has its charms. You love watercolors for the special properties of what watercolors can do. Oils cannot do what watercolors can do, just as 16mm film cannot produce the effects of 8mm film, and so on down the line. We are now in a very complex period and I think it will last for some time. We’re still in the digital era, and I cannot predict what’s next. The digital will have a big effect, unless there is a return to wood, to ground stone pigments [laughs]. There I stop—I leave it to the future.

What about the present? Do you have any further thoughts on the state of artistic production today?

This moment is just an extension of the last 100 years, just watching and rewatching. In the introduction to his book The Shadow Line, Joseph Conrad writes that there is a time when one is very young and does everything without thinking, where one does not care who says what—one just does it. Then, in time, the shadow line comes in, usually when we are 27 or so, when we begin to look back and listen to who says what, where we begin to pay attention to what people are saying. The real creation comes before the shadow line. What we have now in the arts is already beyond the shadow line. We repeat, we look back, we recreate, we make comments on it, we redo the same thing in a different way—that’s where we are. There is very little new.

I may just be missing it—there may be someone somewhere already doing something new that we don’t know about. I don’t go out that much, but there may be. I hope there is. There must be, somewhere, the first emerging buds of something new. There must be.

read the full interview here: http://www.artspace.com/magazine/interviews_features/jonas-mekas-interview-part-2

May 1, 2015

Filed under: film as subversive art,sex — ABRAXAS @ 3:37 pm


April 9, 2015

illuseum films

Filed under: film as subversive art,illuseum — ABRAXAS @ 5:51 pm

all the illuseum films can be viewed here: http://beatzone.cz/search/feed/illuseum

April 4, 2015

soiled sinema reviews kan door huid heen (can go through skin)

Filed under: film,film as subversive art,reviews — ABRAXAS @ 9:07 am


keep reading this review here: http://www.soiledsinema.com/2015/04/can-go-through-skin.html

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