{"id":9715,"date":"2026-03-15T14:23:54","date_gmt":"2026-03-15T13:23:54","guid":{"rendered":"https:\/\/offbiennale.hu\/en\/esemeny\/"},"modified":"2026-03-21T19:03:31","modified_gmt":"2026-03-21T18:03:31","slug":"full-of-fire-encounter-of-the-north-american-and-the-east-central-european-experimental-motion-pictures","status":"publish","type":"projekt","link":"https:\/\/offbiennale.hu\/en\/2015\/full-of-fire-encounter-of-the-north-american-and-the-east-central-european-experimental-motion-pictures\/","title":{"rendered":"Full of fire: Encounter of the North American and the East-Central European experimental motion pictures"},"content":{"rendered":"

Full of fire: Encounter of the North American and the East-Central European experimental motion pictures\u00a0<\/b><\/span><\/h1>\n

May 28, 2015<\/span><\/h2>\n

Curators and moderators: Dorottya Szalai (artinCINEMA), P\u00e9ter Lichter (Prizma)<\/span><\/p>\n

The <\/span>aim <\/span>of <\/span>the <\/span>screening <\/span>is <\/span>to <\/span>build <\/span>a <\/span>kind <\/span>of <\/span>bridge <\/span>between <\/span>Western <\/span>and <\/span>Eastern <\/span>contemporary <\/span>avant-<\/span>garde <\/span>film <\/span>discourse. <\/span>From <\/span>the <\/span>avant-<\/span>garde <\/span>films <\/span>produced <\/span>in <\/span>North <\/span>America <\/span>in <\/span>recent <\/span>years, <\/span>we <\/span>highlight <\/span>several <\/span>exciting <\/span>works <\/span>and <\/span>place <\/span>them <\/span>in <\/span>dialogue <\/span>with <\/span>Central\u2013<\/span>Eastern <\/span>European <\/span>films <\/span>that <\/span>employ <\/span>similar <\/span>formal <\/span>languages <\/span>and <\/span>themes.<\/span><\/p>\n

The <\/span>landscape <\/span>of <\/span>contemporary <\/span>avant-<\/span>garde <\/span>film <\/span>is <\/span>almost <\/span>overwhelmingly <\/span>complex, <\/span>therefore <\/span>any <\/span>narrow <\/span>selection <\/span>inevitably <\/span>reflects <\/span>the <\/span>curators\u2019 <\/span>personal <\/span>taste.<\/span><\/p>\n

The <\/span>current <\/span>face <\/span>of <\/span>North <\/span>American <\/span>experimental <\/span>film <\/span>is <\/span>shaped <\/span>by <\/span>several <\/span>traditions <\/span>that <\/span>began <\/span>in <\/span>the <\/span>1960s. <\/span>These <\/span>include <\/span>the <\/span>lyrical <\/span>abstraction <\/span>associated <\/span>with <\/span>Stan <\/span>Brakhage<\/span> <\/span>and <\/span>Bruce <\/span>Baillie<\/span>, <\/span>the <\/span>structuralism <\/span>initiated <\/span>by <\/span>the <\/span>Canadian <\/span>Michael <\/span>Snow<\/span>, <\/span>and <\/span>the <\/span>found-<\/span>footage<\/span><\/em> <\/span>tradition <\/span>using <\/span>discovered <\/span>materials, <\/span>exemplified <\/span>by <\/span>Bruce <\/span>Conner<\/span>. <\/span>The <\/span>North <\/span>American <\/span>works <\/span>in <\/span>this <\/span>selection <\/span>were <\/span>made <\/span>by <\/span>young <\/span>contemporary <\/span>filmmakers <\/span>who <\/span>draw <\/span>on <\/span>these <\/span>classical <\/span>roots.<\/span><\/p>\n

Until <\/span>the <\/span>1990s, <\/span>the <\/span>avant-<\/span>garde <\/span>traditions <\/span>of <\/span>the <\/span>countries <\/span>of <\/span>the <\/span>Central\u2013<\/span>Eastern <\/span>European <\/span>region <\/span>developed <\/span>quite <\/span>differently <\/span>from <\/span>one <\/span>another, <\/span>both <\/span>in <\/span>terms <\/span>of <\/span>institutional <\/span>background <\/span>and <\/span>dominant <\/span>formal <\/span>language. <\/span>In <\/span>Hungary <\/span>and <\/span>Poland, <\/span>avant-<\/span>garde <\/span>film\u2014<\/span>covering <\/span>a <\/span>wide <\/span>spectrum <\/span>of <\/span>canonical <\/span>experimental <\/span>approaches\u2014<\/span>largely <\/span>evolved <\/span>within <\/span>a <\/span>single <\/span>defining <\/span>institution (<\/span>the <\/span>Bal\u00e1zs <\/span>B\u00e9la <\/span>Studio<\/span> <\/span>and <\/span>the <\/span>Workshop <\/span>of <\/span>Film <\/span>Form<\/span>, <\/span>respectively). <\/span>In <\/span>the <\/span>member <\/span>states <\/span>of <\/span>the <\/span>former <\/span>Yugoslavia, <\/span>amateur <\/span>filmmakers\u2014<\/span>often <\/span>focusing <\/span>on <\/span>conceptual <\/span>films <\/span>and <\/span>documented <\/span>performances\u2014<\/span>organized <\/span>themselves <\/span>into <\/span>film <\/span>clubs (<\/span>kino <\/span>klub<\/span><\/em>). <\/span>In <\/span>Romania, <\/span>media <\/span>artists <\/span>experimented <\/span>with <\/span>many <\/span>different <\/span>forms <\/span>of <\/span>moving <\/span>images (<\/span>film, <\/span>video <\/span>art, <\/span>hypermedia) <\/span>within <\/span>two <\/span>larger <\/span>groups (<\/span>Kinema <\/span>Ikon<\/span> <\/span>and <\/span>Sigma<\/span>). <\/span>In <\/span>the <\/span>Czech <\/span>Republic <\/span>and <\/span>Slovakia, <\/span>however, <\/span>no <\/span>long-<\/span>lasting <\/span>formation <\/span>specializing <\/span>in <\/span>experimental <\/span>film <\/span>emerged.<\/span><\/p>\n

In <\/span>the <\/span>21st <\/span>century, <\/span>the <\/span>character <\/span>of <\/span>experimental <\/span>film <\/span>in <\/span>the <\/span>Central\u2013<\/span>Eastern <\/span>European <\/span>region <\/span>is <\/span>shaped <\/span>both <\/span>by <\/span>the <\/span>continuation <\/span>of <\/span>the <\/span>region\u2019s <\/span>distinctive <\/span>avant-<\/span>garde <\/span>traditions <\/span>and <\/span>by <\/span>the <\/span>influence <\/span>of <\/span>Western <\/span>trends. <\/span>The <\/span>Central\u2013<\/span>Eastern <\/span>European <\/span>works <\/span>included <\/span>in <\/span>this <\/span>selection <\/span>mainly <\/span>reflect <\/span>the <\/span>latter <\/span>tendency: <\/span>\u201c<\/span>Eastern <\/span>reactions <\/span>to <\/span>Western <\/span>trends.\u201d<\/span><\/p>\n

Venue: H\u00e1ts\u00f3 Kapu (<\/span>1074 Budapest, Doh\u00e1ny u. 13.)<\/span><\/p>\n

\"\"<\/a>

Photo: \u00c1d\u00e1m T\u00e1bori \u00a9 OFF-Biennale Budapest archive<\/p><\/div>\n

\"\"<\/a>

Photo: \u00c1d\u00e1m T\u00e1bori \u00a9 OFF-Biennale Budapest archive<\/p><\/div>\n

Program<\/h2>\n

Dalibor <\/span>Bari\u0107:<\/span> <\/span>The <\/span>Horror <\/span>of <\/span>Dracula<\/span><\/em> (<\/span>2010) <\/span>3\u201920 \u2013 <\/span>Croatia<\/span><\/strong>
A <\/span>psychedelic, <\/span>atmospheric <\/span>found-<\/span>footage <\/span>collage <\/span>film. <\/span>A <\/span>reinterpretation <\/span>of <\/span>a <\/span>Hammer <\/span>classic.<\/span><\/p>\n

Katarzyna <\/span>P\u0142azi\u0144ska:<\/span> <\/span>Chapri<\/span><\/em> (<\/span>2014) <\/span>6\u201924 \u2013 <\/span>Poland<\/span><\/strong>
An <\/span>impressionistic \u201c<\/span>portrait <\/span>film\u201d <\/span>about <\/span>the <\/span>process <\/span>of <\/span>papermaking.<\/span><\/p>\n

Kry\u0161tof <\/span>Pe\u0161ek:<\/span><\/strong> <\/span>The <\/span>Return \/ <\/span>N\u00e1vrat<\/span><\/em> (<\/span>2006) <\/span>6\u201926 \u2013 <\/span>Czech <\/span>Republic<\/span><\/strong>
A <\/span>hardline <\/span>structuralist <\/span>film, <\/span>a <\/span>re-<\/span>editing <\/span>of <\/span>Andrey <\/span>Zvyagintsev\u2019s <\/span>2003 <\/span>work.<\/span><\/p>\n

Mihai <\/span>Grecu & <\/span>Thibault <\/span>Gleize:<\/span><\/strong> <\/span>Glucose<\/span><\/em> (<\/span>2012) <\/span>7\u201918 \u2013 <\/span>Romania<\/span><\/strong>
Spatial <\/span>distortions <\/span>and <\/span>overlaps \u2013 <\/span>a <\/span>humorous <\/span>short <\/span>film <\/span>about <\/span>optical <\/span>illusions.<\/span><\/p>\n

Milan <\/span>Balog:<\/span><\/strong> <\/span>1.35.<\/span><\/em> (<\/span>2003) <\/span>8\u2032 \u2013 <\/span>Slovakia<\/span><\/strong>
Moving <\/span>light (<\/span>reproduced) <\/span>images <\/span>about <\/span>the <\/span>limits <\/span>and <\/span>possibilities <\/span>of <\/span>communication.<\/span><\/p>\n

P\u00e9ter <\/span>Klausz:<\/span><\/strong> <\/span>Hanna<\/span><\/em> (<\/span>2013) <\/span>7\u201940 \u2013 <\/span>Hungary<\/span><\/strong>
A <\/span>found-<\/span>footage <\/span>abstraction <\/span>about <\/span>the <\/span>dynamics <\/span>of <\/span>remembering <\/span>and <\/span>forgetting.<\/span><\/p>\n

Stephen <\/span>Broomer<\/span>:<\/span> <\/span>Spirits <\/span>in <\/span>Seasons<\/span><\/em> (<\/span>2013) <\/span>12\u201917 \u2013 <\/span>USA<\/span><\/strong>
A <\/span>mystical, <\/span>ghostly <\/span>lyrical <\/span>film <\/span>about <\/span>a <\/span>pet <\/span>cemetery, <\/span>with <\/span>beautiful <\/span>autumn <\/span>colors.<\/span><\/p>\n

Scott <\/span>Fitzpatrick:<\/span> <\/span>Places <\/span>with <\/span>Meaning<\/span><\/em> (<\/span>2013) <\/span>2\u201950 \u2013 <\/span>USA<\/span><\/strong>
What <\/span>happens <\/span>if <\/span>you <\/span>make <\/span>an <\/span>animated <\/span>film <\/span>using <\/span>an <\/span>inkjet <\/span>printer?<\/span><\/p>\n

Rhayne <\/span>Vermette:<\/span> <\/span>Full <\/span>of <\/span>Fire<\/span><\/em> (<\/span>2014) <\/span>2\u201914 \u2013 <\/span>Canada<\/span><\/strong>
A <\/span>distressed <\/span>found-<\/span>footage <\/span>film <\/span>with <\/span>blues <\/span>overtones.<\/span><\/p>\n

Tomonari <\/span>Nishikawa:<\/span> <\/span>45 <\/span>7 <\/span>Broadway<\/span><\/em> (<\/span>2013) <\/span>5\u2019 \u2013 <\/span>USA<\/span><\/strong>
A <\/span>city <\/span>film <\/span>shimmering <\/span>with <\/span>psychedelic <\/span>colors, <\/span>realized <\/span>entirely <\/span>through <\/span>analog, <\/span>long-<\/span>forgotten <\/span>laboratory <\/span>techniques.<\/span><\/p>\n

Jeremy <\/span>Moss:<\/span> <\/span>The <\/span>Blue <\/span>Record<\/span><\/em> (<\/span>2014) <\/span>16\u201937 \u2013 <\/span>USA<\/span><\/strong>
A <\/span>lyrical <\/span>essay <\/span>film <\/span>about <\/span>decay, <\/span>shot <\/span>on <\/span>16mm <\/span>analog <\/span>film <\/span>stock. <\/span>Moss <\/span>recorded <\/span>the <\/span>film <\/span>in <\/span>old <\/span>Philadelphia <\/span>prisons.<\/span><\/p>\n

Bryan <\/span>Boyce:<\/span> <\/span>Walt <\/span>Disney\u2019s <\/span>Taxi <\/span>Driver<\/span><\/em> (<\/span>2014) <\/span>4\u201931 \u2013 <\/span>USA<\/span><\/strong>
Martin <\/span>Scorsese\u2019s <\/span>classic <\/span>in <\/span>a <\/span>new <\/span>light.<\/span><\/p>\n

\"\"<\/a>

Photo: \u00c1d\u00e1m T\u00e1bori \u00a9 OFF-Biennale Budapest archive<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Curators and moderators: Dorottya Szalai (artinCINEMA), P\u00e9ter Lichter (Prizma)<\/p>\n","protected":false},"author":6,"featured_media":9702,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"biennale_esemeny":[34],"projekt_category":[37],"tagek":[],"class_list":["post-9715","projekt","type-projekt","status-publish","format-standard","has-post-thumbnail","hentry","biennale_esemeny-34","projekt_category-events"],"yoast_head":"\nFull of fire: Encounter of the North American and the East-Central European experimental motion pictures - OFF Bienn\u00e1l\u00e9<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/offbiennale.hu\/en\/2015\/full-of-fire-encounter-of-the-north-american-and-the-east-central-european-experimental-motion-pictures\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Full of fire: Encounter of the North American and the East-Central European experimental motion pictures - 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