What do we mean by 'understand' when we are talking about artworks? How can we talk about the artwork or describe it in a way that expands rather than reduces?
Opacities was a series of three screenings and discussion events that will explore new ways to talk about experimental moving image outside of an academic framework. The programme included work by film-makers and artists who all seem to refuse categorisation and deal with personal logic/illogic, missing histories or the esoteric.
In his essay For Opacity, poet and thinker Edouard Glissant wrote: "Opacities can coexist and converge, weaving fabrics. To understand these truly one must focus on the texture of the weave and not on the nature of its components..." Inspired by this, the films selected will deal with elusive impressions and sensations, double takes and alternative narratives, and, in turn, invite creative responses.
Thursday 4 February, 7—9pm
Kevin Jerome Everson & Claudrena Harold, Sugar Coated Arsenic, 20 minutes, 2014
Filipa César, Conakry, 11 minutes, 2013
Pauline Boudry & Renate Lorenz, To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation, 18 minutes, 2013
Saturday 6 February, 7—9pm
Laida Lertxundi, Vivir Para Vivir, 11 minutes, 2015
Ben Rivers, Things, 20 minutes, 2014
Thursday 11 February, 7—9pm
Chick Strand, Elasticity, 25 minutes, 1976
Lewis Khlar, False Aging, 14 minutes, 2008
Tamara Henderson & Julia Feyrer, Consider the Belvedere, 10 minutes, 2015
Wojciech Bąkowski, Sound of My Soul, 13 minutes, 2014
Opacities was programmed in association with LUX