Anthony McCall, Line describing a cone
Bruce McClure
Gill Eatherley, Pan film, Dortmund 2004
Lis Rhodes, Light Music, Dortmund 2004
Malcolm Le Grice, Castle One
Karen Mirza & Brad Butler, Where a Straight Line Meets a Curve
Sally Potter, Play
Tony Conrad, Bowed Film, Dortmund 2004
Tony Conrad, Sukiyaki
William Raban, Angles of Incidence, Dortmund 2004
William Raban, Surface Tension, Dortmund 2004
William Raban, Wave Formations, Dortmund 2004
Yann Beauvais, Sans titre 84

Thursday 7 December

1 pm Workshop (Registration required)
Karen Mirza & Brad Butler, Creative Projection
Artists Karen Mirza and Brad Butler will lead a practice-based workshop in creative projection that explores different approaches to EXPANDED CINEMA. Participants will be encouraged to experiment with unconventional modes of projection, and investigate the sculptural nature of film as a spatial and temporal medium.

7 pm Film Screening
Gill Eatherley, Pan Film, 1972, triple projection, 8 mins
Representation of a personal space through visual counterpoint, and positive/negative shifts.

Robert Morris, Gas Station, 1969, double projection, 34 mins
Gas Station explores the lived experience of space and the fixed viewpoint of the camera.

Sally Potter, Play, 1971, double projection, 7 mins
Seen from the filmmaker’s window, the choreographic play of twin children is fractured into cinematic space.

Karen Mirza & Brad Butler, Where A Straight Line Meets A Curve, 2003, double projection, 30 mins
“A durational sculpture, of real and imagined activity shot entirely in one room. It is a film concerned with the objective reduction of space, a film ‘about’ the recording and representation of space and the politics of the viewing space of film itself.”

8.30 pm Opening Reception
Anthony McCall, Line Describing a Cone, 1973, film environment, 30 mins
Over time, a projected beam of light is transformed into an apparently solid volume that stretches across the room, inviting the audience to experience it from all perspectives.

Friday 8 December

11 am Discussion
The Future of Expanded Cinema
Guest artists and invited speakers will discuss issues related to the presentation and documentation of EXPANDED CINEMA works, addressing important questions concerning the conservation, presentation and study of this filmic performance art. EXPANDED CINEMA often demands the direct participation of the artists, and resists re-enactment or reconstruction in their absence. Each projection is different, embracing chance and variation, and adapted to its exhibition environment, making it impossible to capture a definitive performance. Given these conditions, how can such works be adequately recorded and studied outside of the live experience, whilst retaining the unique characteristics of this dynamic, ephemeral art form?

3 pm Demonstration
Tony Conrad, Pickled Film
In a radical approach to film preservation, Tony Conrad will discuss and prepare Pickled Film, methodically mixing raw film stock, vinegar, vegetables and spices.

7 pm Film Screening
Ken Jacobs, Opening the Nineteenth Century: 1896, 1990, 16mm film, 9 mins
An archival film from the turn of the century, transformed into impossible 3D.

Hans Michaud, MorningFilms Double Projection 8/2001-10/2004, 2004, double projection, 5 mins
A celluloid sketchbook composed to a strict mathematical scheme.

Rose Lowder, Certaines Observations, 1979, double projection, 14 mins
“Certain observations are used to define notions regarding the appearance of things in true or apparent motion.”

Yann Beauvais, Sans Titre 84, 1984, double projection, 14 mins
Photographs of the Arc de Triomphe, split into strips, reformed and transformed.

Werner Nekes, Gurtrug Nr. 2, 1967, double projection, 13 mins
Two triangular images, vertically aligned, form an X in space and time.

Ernst Schmidt Jr., Doppelprojektion, 1969, double projection, 5 mins
Doppelprojektion explores the transformation of events from physical space into visual space.

8.30 pm Live Performance
William Raban
English artist William Raban is one of the leading practitioners of EXPANDED CINEMA, mixing the materialist aesthetic with time-lapse and observational documentary. The programme draws on key works from the 1970s, and features the world premiere of a new arrangement of Wave Formations.

William Raban, Surface Tension, 1976, double projection, 15 mins
William Raban, Angles of Incidence, 1973, double projection, 10 mins
William Raban, Moonshine, 1974, double projection, 8 mins
William Raban, Diagonal, 1973, triple projection, 6 mins
William Raban, Wave Formations, 1977-2006, quintuple projection, 20 mins

Saturday 9 December

3 pm Lecture
William Raban, Expanded Cinema and Structural Film
Using film examples, William Raban will give a personal account of EXPANDED CINEMA at the London Film-Makers’ Co-operative throughout the 1970s, demonstrating how some of the multi-screen and film performance works came into being and describing their relationship within a broader structural film aesthetic.

7 pm Film Screening
Paul Sharits, Razor Blades, 1965-68, double projection, 25 mins
“By opposing the eyes and ears against the mind, Razor Blades cuts deeply, both in our psychic and visceral bodies.”

Joost Rekveld, #5, 1994, triple projection, 6 mins
A luminescent action painting of abstract light forms in kinetic motion.

Carl Brown & Michael Snow, Triage, 2004, double projection, 30 mins
Each artist worked independently on one panel of a double screen “exquisite corpse”.

20.30 Live Performance
Bruce McClure
McClure creates hypnotic and immersive film experiences from a minimal quantity of audio-visual information. The projector, usually treated as a passive servant, becomes, through certain adornments, the primary agent serving the brain.

Bruce McClure, Untitled, 2006, film performance, variable duration
Bruce McClure, Nethergate, 2006, film performance, variable duration

Sunday 10 December

3 pm Demonstration
Bruce McClure
Bruce McClure will discuss his work and give a practical demonstration of his uniquely modified projectors and sound processing assemblies.

7 pm Film Screening
Malcolm Le Grice, Castle One, 1966, 16mm film, 20 mins
One of the earliest expanded works, “The Light Bulb Film” questions the role of the spectator in film viewing experience.

Morgan Fisher, Projection Instructions, 1976, 16mm film, 4 mins
Every film must be performed by the projectionist. This one requires extra attention. 

Lis Rhodes, Light Music, 1975-77, projection environment, 25 mins
A dynamic and interactive sound and light environment in which image and sound are inextricably linked.

8.30 pm Live Performance
Tony Conrad
Tony Conrad presents two performances that propose alternative systems of film production and refer back to a sequence of interventionist works he made in the mid-1970s Bowed Film combines Conrad’s interests in film and musical minimalism. For Sukiyaki, unexposed film strips are stir-fried in the traditional manner prior to their unique projection.

Tony Conrad, Bowed Film, 1974, film performance, variable duration
Tony Conrad, Sukiyaki, 1973, film performance, variable duration

Schlossplatz 2
D-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711-22 33 791
Württembergischer Kunstverein Stuttgart