星期天, 20. October 2013
IOIC @ Re:Public Domain Matinée
Forum Schlossplatz, 阿劳
www.forumschlossplatz.ch
Germaine Dulac enters the Public Domain
70 years after the death of an author, his or her works generally enter the public domain and become common property. Re:Public Domain is a format that brings together the old and the new. Public Domain Jams are formats that transcend generations by joining old works and new tools, allowing for new interpretations and new ways of reading and reception. These newly created works are available to all. In Zurich, Dock18 has been organising events centred on the Public Domain since 2009. Re: Public Domain for the first time brought together a number of different cities. Find more information and texts on pdjam.wordpress.com
On 20 July 1942, the film maker Germaine Dulac died at the age of 59. Her works have been commonly available since the beginning of 2013 and can thus be used freely and without authorisation by the author or her heirs. On the occasion of the Public Domain Jam, the IOIC will be showing one of the lesser and one of the better known films of French cinema’s first grande dame: the 1927 cinematic poem “L'Invitation au voyage” based on Baudelaire’s poem by the same name, and the 1928 classic “La coquille et le clergyman” inspired by the surrealists. Both films will be shown with new live music accompaniment.
Iokoi & Bit-Tuner (声音, 电子琴, 现场电子音乐)
“Mon enfant, ma soeur, / Songe à la douceur / D'aller là-bas vivre ensemble, ...” The opening lines of Baudelaire’s poem “L'Invitation au voyage” are the source of inspiration for Germaine Dulac’s cinematic poem. In sparse but eloquent images and without any dialogue the film tells the story of a married woman who tries to escape the sad reality of her life with another man, and fails.
Singer IOKOI and live electronic artist Bit-Tuner first got together for a live film performance in September 2012 during the IOIC China Tour. The heavy beats and dark atmospheres weave an ideal soundscape for Mara Miccichès unmistakable voice to rise above.
Eisentanz (自制乐器)
The assessment of this first surrealist oeuvre in film history by the British censorship authorities at the time says it all: a film that is ‘devoid of any meaning, and if one can be found it is without a doubt offensive.’ While the statement may not fully do justice to the film, it does contain a central moment. The erotic hallucinations of a clergyman and the shifting play of treacherous surfaces are always aimed at something underneath or behind: the unconscious.
The film is set to music by the sound artist Eisentanz, who has been experimenting with electronic and acoustic sounds and noises for 20 years. He creates his instruments from materials and objects made of metal, plastic and stone with which he then generates his live sounds.