Sound Screening Vol.4「ある瞬間を別の視点から同じように理解することは可能か？」 at space dike

Sound Screening Vol.4「ある瞬間を別の視点から同じように理解することは可能か？」/ Is it possible to perceive the same moment from different perspectives?

http://shinkantamaki.net/sound-screening-vol-4/
http://spacedike.blogspot.jp/2016/04/sound-screening-vol-4.html
https://www.facebook.com/events/1083872195003652/

視覚と聴覚の拡張を試みるイベントの第4回目。実験的手法とドキュメンタリーを組み合わせ、独自の世界を作り上げるドイツのフィリップ・ヴィトマンを迎えて。外部から観測する者には感じることのできない架空の力を題材に、経験を共有することの難しさについて言及した最新作を含む、世界中で反響を呼んだ3作品（全て日本初公開）を上映。光学実験を手元で展開していく田巻の映像ライブに加え、bikiと神田聡のデュオによる、物と現象を配置し空間を構築するパフォーマンスを予定しています。

2016/5/22(日)
開場 15:30
開演 16:00
入場料￥1,500+１ドリンクオーダー

会場　space dike
東京都台東区日本堤2-18-4
東京メトロ日比谷線 三ノ輪駅３番出口 徒歩5分
http://spacedike.blogspot.jp/

出演
田巻真寛 / Shinkan Tamaki
biki + 神田聡 / biki + Satoshi Kanda
フィリップ・ヴィトマン / Philip Widmann

出演者プロフィール
田巻 真寛 / Shinkan Tamaki
主に映像とそれに関連した作品を制作している。2006年から作品制作を始める。見たことのないイメージと新しい知覚の気づきを求め、抽象と具象の境界や映像と音の狭間を行き交う映像を創作している。フィルム作品では、メディアの物質性に着目し、造形物として映像に応用したものがある。ロッテルダム国際映画祭、カナダのメディアシティ映画祭での上映をはじめ、スペインで最もコアな実験映画祭S8に招待されるなど、海外での上映が続いている。また、近年は光学現象を映像に変換するパフォーマンスも行っている。
http://shinkantamaki.net/

biki
1981年静岡県生まれ
東京都在住
2000年頃から、シーケンサーでループファイルを作っている。
2008 年頃から、身の回りの物や自分で作った物を使った演奏や展示をしている。
http://biki.tumblr.com

神田 聡 / Satoshi Kanda
紐、棒、テープ、牛乳瓶、ベースギター、パソコンなどを積み上げる、あるいは吊り下げる演奏を行う。
http://bit.ly/kndkndknd

フィリップ・ヴィトマン / Philip Widmann
1980年、旧西ドイツ生れ。ハンブルク大学で文化人類学を専攻し、ハンブルグ造形芸術大学で視覚コミュニケーションを学ぶ。彼の作品はベルリン国際映画祭やロッテルダム国際映画祭、コペンハーゲン・ドキュメンタリー映画祭などを始め数多くの映画祭や美術館で上映されている。
http://philipwidmann.com/

--English--
Is it possible to perceive the same moment from different perspectives?

"Sound Screening" explores expansion of visual and auditory sensation. Philip Widmann presents his 3 films in person, who makes original worlds by experimental and documentary technique. The works include latest film which got a deep response all over the world. The film title Fictitious Force means physical force which we can't feel from the outside of a system, it refers to impossibility of sharing experiences. Moreover, Shinkan Tamaki shows his new performance which develops optical experiments at hand, and biki & Satoshi Kanda duo will construct space by setting objects and phenomena.

22nd May 2016, Sunday
Open 15:30
Start 16:00
Admission￥1,500 + 1 drink order

Venue: space dike
2-18-4, Nihonzutsumi, Taito-ku, Tokyo, Japan.
a 5 minute walk from Hibiya Line Minowa Station's Exit 3.
http://spacedike.blogspot.jp/
Seating is limited.
for reservation, please e-mail to Shinkan: mare_films[at]yahoo.co.jp

///line-up///
Shinkan Tamaki
biki + Satoshi Kanda
Philip Widmann

///Biography///
Shinkan Tamaki
Born in 1982, Japan. Artist in search of never-before-seen images and new perceptual experience. He started making moving image with 16mm film in 2006. Main theme is to lead the audience's perception to change naturally and sometimes drastically bycoming and going across borders between image and non-image, sound and image with extracting film's materiality. The works have been screened at many film festivals, including International Film Festival Rotterdam. Recently, He performs to transform optical phenomenon into moving image.
http://shinkantamaki.net/

biki
Born in 1981, Shizuoka Pref. Lives in Tokyo. Since 2000, he has made looped audio file by hardware sequencer. Since 2008, he has performed and exhibited with one's belongings and self-made equipments.
http://biki.tumblr.com

Satoshi Kanda
Performs music by stacking or hanging strings, sticks, tapes, bottles of milk, bass guitars and PCs.
http://bit.ly/kndkndknd

Philip Widmann
Born in West-Berlin in 1980, graduated in Cultural Anthropology from the University of Hamburg and in Visual Communications from the University of Fine Arts Hamburg. His works have been shown in art spaces and film festivals, such as the Wexner Center for the Arts, WRO Biennale Wroclaw, Berlin Film Festival, Rotterdam International Film Festival, New York Film Festival, FID Marseille, CPH:DOX und Visions du Réel.
http://philipwidmann.com/

Screening films by Philip Widmann
All works will be screened in digital file.

Destination Finale
(2008, 8mm/Beta SP, Color, 1:1.33, Stereo, 9')
A man, presumably of Vietnamese origin, travels Europe. Shortly after, American troops enter the ground war in Vietnam.

A/M Spring Version
(2012, 16mm, Black & White, 1:1.33, silent, 3')
An afternoon in Athens, September 2011, the sun is low. A film, more than 50 years old. There is always something being transported, even if the boxes may turn out to be empty. Goods, means and actors tell stories: metaforai.

A/M Spring Version combines documentary footage shot in Athens shortly before sunset, which were hand-processed and edited on the same evening, with a re-photographed and animated travel film from the 1950s. It is a take on an excerpt from Michel de Certeau’s influential Walking in the City. The passage reads: »In modern Athens, the vehicles of mass transportation are called metaforai. To go to work or come home, one takes a metaphor – a bus or a train. Stories could also take this noble name: every day, they traverse and organise places: they select and link them together; they make sentences and itineraries out of them. They are spatial trajectories.«

Fictitious Force
(2015, Super 16/35/DCP, Black & White,1:1.66 > 1:1.78, Dolby Digital 5.1, 15’)
A theorem from physics that describes apparent forces in circular motion when observed from an external frame of reference lends its name to a film by Philip Widmann: Fictitious Force is a cinematic exchange on the impossibility of sharing experiences, in black and white and grey.

We see a man preparing to perform in front of a large crowd. Several features signify that this performance is part of a ritual, that the location of events is in an exotic country with a different writing system and different conventions of clothing.

Shot in 2013 during a festival of devotees of Shiva by a local crew in Kolkata/India, and in a language that the director neither speaks nor understands, the film relies on the visual and leaves us puzzled. Fragmented dialogues in Bengali and English appear as type, interrupting the course of events, and negotiating the dilemma of ethnography and – perhaps – of spectatorship itself in mundanely poetic terms.

The distance between observer and observed, between self and other can be diminished or negated but eventually cannot be overcome. Like previous works of Widmann’s, Fictitious Force implicitly deals with questions of representation and physicality, informed by an anthropological interest that claims no academic foundation. - www.schloss-post.com

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for more info
http://shinkantamaki.net/sound-screening-vol-4/

会期前