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Lucia Aspesi is an art critic and film curator. In 2010-2012 she was a researcher on the post-diplome “Document et art contemporain” at ÉESI – École européenne supérieure de l’image, (Poitiers, France) working on the history of Italian Experimental Film. Lucia leads the Marinella Pirelli’s film restoration project (Archivio Marinella Pirelli, Italy). Her recent curatorial projects include: “The parallel attempt” at Xcèntric CCCB (Barcelona, 2013) and “Expanded Document/Documents Élargis” at ENSBA – École nationale supérieure des beaux arts (Paris, 2012). She collaborates with different art institutions and museums including HangarBicocca (Milan) and galleria kaufmannrepetto (Milan).

↝ 27/09/2013 – Lecture

Érik Bullot, après des études à l’École nationale supérieure de la photographie (Arles) et à l’IDHEC (Paris), réalise des films qui se situent entre le cinéma d’artiste et les films d’auteur. Membre du collectif de programmation pointligneplan, il a coordonné l’ouvrage Pointligneplan, Cinéma et art contemporain aux Éditions Léo Scheer en 2002. Il a publié récemment Sayat Nova, essai (Yellow Now, 2007), Renversements 1 et 2. Notes sur le cinéma (Paris Expérimental, 2009 et 2012), et Sortir du cinéma: histoire virtuelle des relations de l'art et du cinéma (MAMCO, 2013). Théoricien et cinéaste, il a enseigné le cinéma et la photographie dans différentes écoles d’art — Marseille, Le Fresnoy, Arles, Avignon — et à l’Université de New York à Buffalo. Il dirige actuellement le post-diplôme Document et art contemporain à l’École européenne supérieure de l’image (Angoulême-Poitiers), et enseigne le cinéma à l’École nationale supérieure d’art de Bourges. Dans ce contexte, il étudie différentes formes d’élargissement du cinéma, notamment à travers le dispositif du « film papier » qui a donné actuellement lieu à une exposition à Bourges (Galerie La Box, 14-30 mars 2013).

↝ Website
↝ 29–30/04/2013 – Lecture

Robert Beavers is an American experimental filmmaker, who moved to New York in 1965 to pursue filmmaking. In 1967, he left to Europe with his partner, the filmmaker Gregory J. Markopoulos. They continued to live and make films through Europe, until Markopoulos’ death in 1992. After leaving the United States, both filmmakers restricted the screenings of their films, and instead held yearly screenings of their work from 1980-1986 at the Temenos, a site in Arcadia, Greece. After Markopoulos’ death, Beavers founded the Temenos, Inc., a non-profit film and paper archive devoted to the preservation of their work. From 2004, Beavers organise every four years a screening of Eniaios at the Temenos, the last epic work of Markopoulos, reordering previous films and footage specifically shot for that cycle. Furthermore, Beavers has worked extensively on re-editing his films to create the larger cycle My Hand Outstretched to the Winged Distance and Sightless Measure.

↝ Filmography
↝ 09/01/2013 – Screening, Lecture

Christian Lebrat, born in 1952 in Paris (F), is an internationally acclaimed artist with a career spanning over 30 years. He is a filmmaker, video artist, performance artist and photographer, as well as a publisher, curator and writer.

Since 1976 he has created over twenty experimental films, videos, and film performances, along with a formidable body of photographic work. In the last ten years he has had over a dozen major retrospectives of his films in different international cities. He began working in photography in 1978 and has been exhibiting regularly since 1982. Recent solo exhibitions in Marseille, Pantin (France),TorontoandItalyshow new works in film, video, photography, and sculpture. His works are in several public collections, such as: Musée national d’art moderne (Centre Pompidou), FNAC, FRAC Champagne-Ardenne, Bibliothèque nationale de France.

In 1985 he founded Paris Expérimental, a publishing company entirely devoted to publishing theoretical and historical texts on avant-garde and experimental cinema. He has published several essential books on the subject and edited the monumental anthology on French avant-garde film, Jeune, Dure et Pure! Une histoire du cinéma d’avant-garde et experimental en France (2001). He has also published a collection of essays and lectures on his own films (Between images, Paris Expérimental, 1997) and a compilation of his texts (Radical cinema, Paris Expérimental, 2008). As a curator he has also organized several retrospectives, amongst them Jeune, dure et pure! Une histoire du cinéma d’avant-garde et expérimental en France (Cinémathèque française, Paris, 2001), Le Cinéma visionnaire: l’avant-garde américaine (Paris and Rome, 2002), and Maurice Lemaître et le cinéma (Paris, 2005).

His most recent recognition include: 2007 Prize of the MoCCA (Museum of Contemporary Cinema, in Madrid) for Ultra, film performance for 2 x 16 mm projectors and loops. His video V1 (Vortex) has been acquired in 2008 by the Fonds National d’Art Contemporain (French public collection) and most recently his “historical” film Organisation I and performance Liminal Minimal have joined the Centre Pompidou Collection.

[Izabella Pruska-Oldenhof]

↝ Website
↝ 27/09/2013 – Lecture

Malcolm Le Grice is one of the central figures in British experimental film and video. He has been making work since the mid-1960s which has continued to be exhibited internationally, including recent screenings at both Tate Modern and Tate Britain. He is currently a professor at the University of the Arts London, and is the author of several books including Abstract Film and Beyond (MIT, 1977) and Experimental Cinema in the Digital Age (BFI, 2001).

↝ Website
↝ 27/09/2013 – Lecture

New Yorker Bruce McClure augments 16mm projectors, inserting metal filters, so they project basic shapes and textures. In durational expanded-cinema performances, he superimposes multiple projections, generating interference patterns. Using opaque-then-clear film loops, and adjusting projector focus and light intensity, he conjures up optical and physiological effects, his strobing light triggering an array of synaptic responses. The film loops double as a pulsing optical soundtrack, which he modulates using guitar delay and distortion pedals. McClure’s overwhelming, disorienting works tap into a history of avant-garde inquiry into the phenomenology of flicker. He recently played support for Throbbing Gristle, also indicating his allegiance with industrial culture, with its love/hate relationship with the machine/body.

↝ 05/10/2012 – Lecture

Philippe-Alain Michaud, philosophe de formation, historien de l’art et commissaire d’exposition, est conservateur en charge de la collection des films au Centre Pompidou. Travaillant sur les croisements entre l’histoire de l’art et le cinéma, dans une perspective iconologique, il interroge les mécanismes du montage et du mouvement à travers différents supports d’expression.

Il est l’auteur notamment d’Aby Warburg et l’image en mouvement (Macula, 1998), Le Peuple des images : essais d’anthropologie figurative (Desclée de Brouwer, 2002), Sketches : histoire de l’art, cinéma (Kargo/L’Eclat, 2006) et Le Mouvement des images (Centre Pompidou, 2006).

↝ 14/05/2013 – Lecture

Volker Pantenburg is assistant professor for Visual Media with Emphasis on Research in Moving Image at the Faculty of Media of the Bauhaus University Weimar. From 1998 to 2006, he worked as a lecturer and researcher at the University of Münster, where he finished his PhD in 2005 with a study entitled »Film as Theory. Researching the image with Harun Farocki and Jean-Luc Godard« (published in 2006). Between 2007 and 2010, he worked at the Collaborative Research Center "Aesthetic Experience and the Dissolution of Artistic Boundaries" at the Freie Universität Berlin, where he pursued a project on contemporary Film- and Video Installations and the manifold forms of exchange between cinema and the museum. In 2008 and 2009, he initiated and worked in the Project "Kunst der Vermittlung – Aus den Archiven des Filmvermittelnden Films."

↝ 27/09/2013 – Lecture

Lucy Reynolds is a writer, artist and curator. She runs MRes pathway in Moving Image at Central St Martins, University of the Arts, and teaches the history and theory of artists’ moving image at the University of Westminster, Goldsmiths College, LUX and the Arnolfini. Her area of research focuses on expanded cinema and British avant-garde film of the 1970s. She has published articles on artists’ moving image in journals such as Afterall, Millenium Film Journal and Vertigo. She is the features editor for a new peer-review journal on artist’s moving image: the Moving Image Review and Art Journal (MIRAJ). She has curated film programmes for museums and galleries such as Tate Modern and Mukha, Antwerp. She presents talks on artists’ film and video at arts venues across the UK. Her own films, performances and installations have shown at the National Film Theatre and galleries in London and Europe.

↝ 27/09/2013 – Lecture

David Rimmer is an experimental filmmaker whose mature work shares many affinities with structural film. Inspired by Stan Brakhage’s films and writings, he made his first films in the late 1960s, evoking a contemplative mood. He then began making self-reflexive pieces that explore the nature of the film materials and how the medium constructs illusions of movement, depth and presence, using found footage, as in Seashore (1971), Watching for the Queen (1973), Surfacing on the Thames (1970) and the often screened Variations on a Cellophane Wrapper (1970).
He moved temporarily to New York from 1971 to 1974, and worked with avant-garde artists as Yvonne Rainer. When he returned to Canada, he explored through films the concrete natural places in which he works (Vancouver harbour or the British Columbia landscapes). Since 1979, he has made innovative documentaries (travel films or studies of performances), sometimes in film and sometimes in video. He still continues to be active in avant-garde film and video, and has worked extensively with contact and optical printing, with hand-painted animation and with videographics.

His work has been screened at many festivals in Europe and United States, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, and the National Gallery of Canada.

↝ Website
↝ 08/04/2013 – Artist talk

Hannes Schüpbach is a Swiss filmmaker and painter, born in Winterthur, Switzerland in  1965. In  1999 Schüpbach established “Film direkt”, a monthly series of artists’ films at Filmpodium Zurich, where some publications on the art film were also issued. Hannes Schüpbach has become internationally known with his 16mm films, which he has presentedin some of the most important European art institutions. Centre Pompidou, Paris; Biennale de l’Image en Mouvement, Geneva; Museum Reina Sofia, Madrid; Tate Modern, London.
From the first years of his artistic career, Schüpbach also worked as painter, creating “large, connected series of paintings”. During his first solo exhibition, “Stills and Movies” at Kunsthalle Basel was presented a combination of his paintings and films. As we can read on the exhibition website “both media are inseparably connected in his approach to his work. The films and the paintings are two idioms that Schüpbach adopts to articulate the major themes of his artistic work: the representation of time and movement and the complex processes of experiencing and remembering”.

↝ 14–15/03/2013 – Lecture, Workshop Exhibition
↝ 26/28–29/11/2012 – Screening-Talk, Performance, Workshop Exhibition

Susanne M. Winterling lives in Berlin. She works primarily in film, collage and photography. Literature, music, art, architecture and film history become artistic materials for Winterling in just the same ways as everyday objects are staged in her works (for instance a porcelain cup, a bird's feather that changes colour in differing light or the spikes of a sparkler). She has taken part in international group exhibitions such as the Berlin Biennial 2008, at the Museum für Gegenwartskunst Basel and the Kunsthalle Düsseldorf, and has been presented in solo exhibitions in Berlin, Vienna, Geneva, New York, Tokyo and Oslo.

↝ Website
↝ 26/03/2013 – Artist Talk


François Bovier is a senior lecturer and researcher in the film studies department at the University of Lausanne and is a research associate, department of cinema, ECAL – Ecole cantonale d’art de Lausanne. He is a founding editor of the film studies journal Décadrages. Cinéma, à travers champs and the co-editor of the collection PlanSécant at Metis Presses. He is the author of H. D. et le groupe Pool : des avant-gardes littéraires au cinéma “visionnaire” (L’Âge d’Homme, 2009). He has edited the following books and volumes: « Cinéma élargi », Décadrages, n° 21-22, winter 2012 (with Adeena Mey); « Peter Watkins », Décadrages, n° 20, spring 2012 ; Abigail Child, Is This What You Were Born for? Strategies of Appropriation and Audio-Visual Collage (Metis Presses, 2011); and Hugo Münsterberg, Le Cinéma : une étude psychologique et autres essais (with Jean-Philippe Rimann, Héros-Limite, 2010). He has published articles in academic journals, collective volumes and conference proceedings on avant-garde and experimental film, artists’ films and militant cinema. Currently, he is head of the HES-SO research project “Exhibited Cinema” (2012-2014).

Adeena Mey is a Swiss Science Foundation doctoral researcher on the project “Swiss Film Experiments” (ZHdK-UNIL). He graduated from Goldsmiths College, University of London, has contributed to contemporary art publications including, Flashartonline, Nero, Nowiswere and Sang Bleu as well as numerous independent editorial projects. He co-edited « Cinéma élargi », Décadrages, n° 21-22, winter 2012 (with François Bovier). He is writing a PhD dissertation entitled Exhibiting Experimental Cinema in Europe in the 1970s. The Moving Image between Apparatus and Event at the University of Lausanne. He is a research assistant on the HES-SO project “Exhibited Cinema” conducted at ECAL.

Associate Researchers and Professors

Luc Andrié, né à Pretoria en 1954, est un artiste contemporain suisse.
Il travaille essentiellement la peinture. Il est aussi professeur à l'École cantonale d'art de Lausanne.

Philippe Decrauzat est un artiste suisse, né en 1974. Il vit et travaille à Lausanne en Suisse.

Denis Savary est un artiste suisse, né en 1981 à Granges Marnand. Il vit et travaille à Lausanne, Suisse.