Flashing into the Shadows:The Artist’s film in America 1966 - 1976
Flashing into the Shadows is a selection of important but rarely shown audio-visual works by the likes of Robert Morris, Richard Serra, Hollis Frampton, Mel Bochner, Robert Smithson, Dan Graham, Bruce Nauman and Vito Acconci, offering a unique outline of the hey-day of the artist’s cinema in the United States between 1966 and 1976. During that period the artist’s film did not merely close the gap between the conventional, modernist categories of ‘art’ and ‘film’. The medium also created a new, hybrid vocabulary, shifting the accent from the self-contained art object to process, performance and language. Subdivided into four themed categories – Topologies, Seriality, Films as Performance and Counter-narratives – the programme, which is divided into six segments, backtracks the role played by the artist’s film in the various utterances of post minimalism, like process art, earth art, conceptual art, body art and performance art. It was compiled by Chrissie Iles and Eric de Bruyn, and has previously been shown in other versions at The Whitney Museum (New York) and Tate Modern (London). The argosfestival will also screen works made for television by Walter de Maria and Gerry Schum as an added bonus.

Topologies #1   96 min.

on Fri, 17 Oct 2003 20:15 at Film Museum

In these four works, film is used to examine our visual perception of spatial relations, such as horizon and scale, by scanning urban sites and open landscape through the camera lens.

Gas Station by Robert Morris 34’ 1969
Railroad Turnbridge by Richard Serra 19’ 1976
Spiral Jetty by Robert Smithson 35’ 1970
Standard Time by Michael Snow 8’ 1967

Topologies #2   52’’

on Sat, 18 Oct 2003 18:15 at Film Museum

Mirror by Robert Morris 9’ 1969
Wind by Joan Jonas 6’ 1968
Sunrise to sunset by Dan Graham 5’ 1969
Line by Yvonne Rainer 10’ 1969
Frame by Richard Serra 22’ 1969

Seriality #1   21’

on Sat, 18 Oct 2003 19:10 at Film Museum

The works in the two-piece section Seriality emphasize on concept, structure, and process over hierarchical composition, shifting the definition of the work of art from ‘masterpiece’ to ‘blueprint’.

Homes for America by Dan Graham 5’ 1967
New York Windows by Mel Bochner & Robert Moskowitz 10’ 1966
A film by Charles Baudelaire by Marcel Broodthaers 6’ 1970

Seriality #2   92’

on Sun, 19 Oct 2003 20:15 at Film Museum

This is the second part in an outline on repetition and seriality, important tropes during the sixties in the filming of such artists as Mel Bochner, Hollis Frampton, Robert Huot and Michael Snow.

Slidelength by Michael Snow 2 x 20’ 2000
Information by Hollis Frampton 4’ 1966
Process Red by Hollis Frampton 4’ 1968
Heterodyne by Hollis Frampton 7’ 1967
Spray by Robert Huot 11’ 1967
Scratch by Robert Huot 11’ 1967
Snowblind by Hollis Frampton 5’ 1968

Film as Performance   88’

on Mon, 20 Oct 2003 22:15 at Film Museum

Film as Performance explores how artists in the sixties delineated the topography of the body in cinematic works, closely relating itself to the medium of performance.

Shoulder by Andy Warhol 4’ 1966
Thighing by Bruce Nauman 10’ 1967
Black Balls by Bruce Nauman 8’ 1969
Three Frame Studies by Vito Acconci 9’ 1969
Hand Movie by Yvonne Rainer 5’ 1966
Hand Catching Lead by Richard Serra 4’ 1968
Hands Tied by Richard Serra 4’ 1968
Hands Scraping by Richard Serra 5’ 1968
Hand Lead Fulcrum by Richard Serra 3’ 1968
Slow Motion by Robert Morris 18’ 1969
Veil by Joan Jonas and Richard Serra 6’ 1971
Backtrack by Dennis Oppenheim 10’ 1971
Tina Turning by Richard Serra 2’ 1969

Counter-Narratives #1   85’

on Tue, 21 Oct 2003 22:15 at Film Museum

In two parts Counter-Narratives outlines renewed interest in language and dialogue in the art film of the seventies. Part #1: Lawrence Weiner’s conceptual A First Quarter, a ‘metascript’, 16 mm, black & white, English spoken, 85’, 1975

A First Quarter by Lawrence Weiner 85’ 1975

Counter-Narratives #2   105’

on Wed, 22 Oct 2003 20:15 at Film Museum

Part #2 of Counter-Narratives, a series on the return of artistic cinema to narrative form in the seventies, shows three examples of how artists undermine narrative continuity.

The Desert People by David Lamelas 52’ 2000
Title by John Baldessari 18’ 1971
Steelmill / Stahlwerk by Richard Serra and Clara Weyergraf 25’ 1979

This event is part of argosfestival 2003

Robert Morris, Gas Station, 1969  
  • Fri 17.10.2003 - Thu 23.10.2003
  • Practical info

    Ravensteinstraat 60
    1000 Brussel