dArzenie – short experimental movie

An independent production 2010, dArzenie its a short and experimental movie made from video footage and pictures with stop-motion technique.

Credits for voice over goes to: Stephanie Endjitobadja

For incredible music and noise to: Monnocle

http://monnocle.free.fr/

Here it goes, enjoy!

The poem was written by John Henry Mackay, and its called ANARCHY

Ever reviled, accursed, ne’er understood,
Thou art the grisly terror of our age.
“Wreck of all order,” cry the multitude,
“Art thou, & war & murder’s endless rage.”
O, let them cry. To them that ne’er have striven
The ‘truth that lies behind a word to find,
To them the word’s right meaning was not given.
They shall continue blind among the blind.
But thou, O word, so clear, so strong, so true,
Thou sayest all which I for goal have taken.
I give thee to the future! Thine secure
When each at least unto himself shall waken.
Comes it in sunshine? In the tempest’s thrill?
I cannot tell – but it the earth shall see!
I am an Anarchist! Wherefore I will
Not rule, & also ruled I will not be!

http://32seconds.noblogs.org/2010/10/darzenie-short-experimental-movie/

DIA(pH)FANE Experimental film

A visual experiment called diaphanous.

Natural elements, insects and free-technology sounds combined with different things that work on electric power or with the use of it, except for the last part.

http://32seconds.noblogs.org/2011/06/diafane/

HAZ # 14 zine

Como suele ser habitual, nuevo número del fanzine HAZ en el cambio de año.

A3 impreso por ambas caras llenas de experimentación abstracta a base de pincel y tinta china envolviendo un dibujo A6 a todo color impreso en papel academia.

80 copias.
0.50 euros.


As usual at year change, new issue of HAZ zine.

Both sides printed A3 full of abstract experimental drawings made with a brush and ink wrapping an A6 full color drawing printed in academy paper.

80 copies.
0.50 euros.


http://www.manchasyruido.blogspot.com/

http://afeitealperro.blogspot.com/

h1 Jueves 8 de Diciembre

TETSUO SEXTET (Cabaret circus big band desde Pau Francia)
http://tetsuo.info/

C-UTTER (Activismo sónico. Ruido Anarquista desde Warcelona)
http://entredosinfiernos.blogspot.com/

Jueves 8 de Diciembre en el Casal de Joves de Roquetes. c/ Vidal i Guash 16. M. Roquetes. 19:30 horas. Ayuda 5 euros.

Organiza: Ojala Estë Mi Bici.
http://www.myspace.com/ojalaestemibici

1 to 4 december-The London Underground Film Festival 2011

Momento Mori

Throughout the 2011 London Underground Film Festival new works by Emily Rose England will be shown at the Horse Hospital in an exhibition called “Momento Mori”. emilyroseengland.tumblr.com
Thursday, 1st December

For day tickets, visit: wegottickets.com
6pm – 7:30pm – Saccadic Masking: Selected Short Films (Voting Session)

The London Underground Film Festival is proud to present a selection of the best short films submitted in 2011. The audience will be invited to vote by secret ballot for best short film at the 2011 LUFF.

Discounted tickets in advance from: wegottickets.com or 5GBP at the door.

PROGRAMME
Daniel McKernan - WHOEVER WHATEVER (6:30)
Nic Saunders - AT APOLLINAIRE’S GRAVE (24:54)
Marianna O’Reilly - 28 (4:38)
Lefty Caligari - GOLDFISH IN A PETRI DISH (7:59)
Fabienne Gautier - ICELAND (4:09)
Mitch Patrick - HANSEL AND GRETEL (7:30)
+ more!
8:00pm – 9:30pm – Saccadic Pursuit: Selected Short Films (Voting Session)

The London Underground Film Festival is proud to present a selection of the best short films submitted in 2011. The audience will be invited to vote by secret ballot for best short film at the 2011 LUFF.

Discounted tickets in advance from: wegottickets.com or 5GBP at the door.PROGRAMME:

PROGRAMME
Matt Murphy - ASYLUM (17:09)
Laisa Ramthun - TONRAR YURALRIA (6:08)
Andrew Rowe - HIPPO BIRDWINGS (5:34)
Kiron Hussain - SLICK HORSING (3:00)
Pato Bosich - THE IMMORTALS (16:57)
Nick Ebeling - GIVE UP (4:45)
Matthew Clarke - BAKA (4:39)
Hazel Gore - POISON IVY (4:55)
Nelson Carvajal - MAKESHIFT CORRECT (12:22)
10pm – 11:30pm Three Lives: Selected Documentaries (Voting Session).

Limited, discounted advanced tickets available here: wegottickets.com or 5GBP at the door.

The London Underground Film Festival presents three very different documentaries that explore the environmental contexts of their subjects: a woman resurrecting the drum dance in Greenland, the sound and video artist Jose Macabra, and the not-so-fictional everywoman, Adrienne.

PROGRAMME:

ECHOES (24min.) Ivalo Frank (2010)
Echoes is an award winning experimental music documentary recorded on various abandoned military places in Greenland. The film is structued according to the sounds, structures and colours of the mosaic landscape of steep mountains. It tells the (love) story about two people who have met here, in in the midst of international politics and war history. ivalofrank.com

IN THE RUINS OF STILL (30min.) Taran (2011)
This film provides a glimpse into the life of Spanish born, Berlin / London based sound and video artist Jose Macabra, known for his work as curator of Antagony and his recent work with Ernesto Tomasini, Trans4Leben, a mixture of opera, sound improvisation and video art. myspace.com/josemacabra

THIS IS MY SHOW (15min.) Loris Felker (2009)
“Working with Nature” can be grueling and painful, but your hostess Adrienne is ready and willing to walk you through what it takes to perfect and control your surroundings. Adrienne brings you the very best in high quality, high definition gardening television, as she takes all of the necessary tools into her own hands for your edification and enjoyment. We think this is the future of documentary film-making.
Friday, 2nd December
8pm – 12am Opening Night Party

Advanced tickets are available at: wegottickets.com

The London Underground Film Festival celebrates opening night with some of the best underground film, music, and performance art Europe has to offer.

PROGRAMME

LIVE:
GERTRUD STEIN
Synthpop chanteuse Gertrud Stein will be gracing our stage, accompanied by her virtual backing dancers.
myspace.com/gertrudstein

SOFT RIOT
Soft Riot is JJD of Savage Furs: one person with a lot of antiquated equipment and lighting performing sinister, minimalist electronic “pop” songs equally influenced from dystopian film, soundtracks and various types of “wave” music. A forthcoming EP, “Another Drone In Your Head”, will be released on the US label Tundra Dubs in early 2012. softriot.com

PARDON MY EARLY EXIT; HOPE YOU SURVIVE!
A rare performance by the gender bender-sound-art-project – pardon my early exit; hope you survive! , an open multimedia platform to experiment with sound, vision, touch, smell, taste, and the six and SevEn senses, an obsessive/compulsive collector interested in what others reject or can’t find use for, to give it a new life, a new name and a different meaning. Loud or quiet, clean or distorted, no preconceptions, restraint is a tool to reach further, sink deeper, spread out wider and shrink. For this special occasion expect -or unexpect- deep sea creatures and aliens … as above, so below! soundcloud.com/23rd-wolf

EMERGENT BEHAVIOUR
Performance art duo Emergent Behaviour will be presenting a new piece devised especially for the London Underground Film Festival. e-mergentbehaviour.blogspot.com

MILKandLEAD
Theatre and body art performer MILKandLEAD will be performing “The Red Virgin Mary”, exploring the sacred and profane in a re-reading of the traditional self-immolation rituals performed by sacristans in some southern Italian villages.

DJs:
HEIDI HEELZ
Creator of Dice Club and erstwhile bass player in The Guillotines, Heidi is now on a mission to instigate a glam rock resurgence. It is going quite well. Catch her at GlamRacket every first Saturday of the month at The Buffalo Bar or at her residencies at Aces & Eights, The Lexington and The Retro Bar. And while you’re at it check out her Roxy and Eno tribute band “Proxy Music” (next gigs: Dec 20th @ The Buffalo Bar and Dec 31st @ The 100 Club). proxymusiclondon.bandcamp.com

BRAVE EXHIBITIONS
Brave Exhibitions is cold/minimal/no(w)-wave muzak club renowned for the avante-garde and the “unexpected”. Established in the notorious darker corners of Shoreditch, London, and now expanded to Berlin – Brave is a rookery for precocious bands, performance artists, and DJ’s that will compel and disturb you. brave-exhibitions.com

NEVER COME BACK
Founded by Emily Rose England and Alison Lewis, Never Come Back is London’s newest experimental dance party. The club featuring some of the most exciting performers to grace the scene and spinning classic and new minimal wave, NDW, coldwave, queerwave, post-punk, synth pop, new beat and old EBM. facebook.com/pages/Never-Come-Back

+ More!

MC: PRINCESS JULIA
Princess Julia has a keen interest in all things creative, writing, music and, of course, film. Currently a music editor at iD Magazine, she contributes to QX, GQ Style, Beige. Catch up with her at theworldofprincessjulia.blogspot.com

PROJECTIONS:
Video art projections will be presented by the Berlin-based Argentinian artist Carmen Burguess, also known for her work in Mueran Humanos. mueranhumanos.com
Saturday, 3rd December

For day tickets, visit: wegottickets.com
12 – 1:30 Made in Birmingham; Reggae, Punk, Bhangra

Advanced, discounted tickets available here: wegottickets.com or 5GBP at the door.

The London Underground Film Festival will be showing Deborah Ashton’s music documentary Made in Birmingham: Reggae, Punk, Bhangra.

ABOUT MADE IN BIRMINGHAM
As the title suggests, the film concentrates on reggae, punk and bhangra and uses rare and unseen archive material interlaced with contemporary interviews with musicians such as UB40, Steel Pulse, Beshara, Swami, The Nightingales, Au Pairs, Amlak, The Prefects, Fuzzbox, The Ever Readies, The Accused, Apna Sangeeta and others.

The film looks at how these groups started, the venues they played in and how they music they made reflected their communities social, political and cultural issues. Directed by Deborah Aston and produced by swish for the Birmingham Popular Music Archive the film takes a fond look at Birmingham and some of its music heritage.
2 – 3:30 Revolutions in Progress: Selected Short Films and Roundtable

Advanced, discounted tickets are available for 3.50GBP at: wegottickets.com or 5GBP at the door

One+One: Filmmakers Journal presents a round table discussion on the topic of revolution, with filmmakers, cultural theorists and activists. They will be screening a selection of film submitted to their film challenge: “Revolutions in Progress” to aid the discussion. Along with this they will be launch and giving out free copies of issue 7 of their journal.

4:00 – 5:30 Today is Boring presents… THUNDERCRACK!

Discounted advanced tickets are available at: wegottickets.com or 5GBP at the door.

The London Underground Film Festival and TODAY IS BORING present Curt McDowell’s 1975 cult pornographic black comedy, THUNDERCRACK!

ABOUT THUNDERCRACK!
Witness if you dare, the world’s only underground kinky art porno horror film, complete with four men, three women and a gorilla. Ecstasy so great that all heaven and hell becomes just one big old Shangri-La! Director Curt McDowell and writer/actor George Kuchar created the exceptionally perverse and utterly brilliant Thundercrack! With the initial setup of an atmospheric gothic horror tale — dark stormy night breakdown featuring a creepy old house on the hill — it quickly turns into a bawdy graphic and darkly comic orgy. Dead drunk, horny and delirious Marion Eaton commands the screen as one of cinema’s weirdest female characters while George Kuchar falls madly in love with a gorilla. Not recommended for those with tender sensibilities, Thundercrack! fully exposes itself with trash-noir lighting through which to peer at the pickles, the puke and the polymorphs.

A true cult classic that has shocked, excited and amazed audiences worldwide, this presentation of Thundercrack! is the first public screening of the film since 2003. This film will arouse,challenge and question you through every torrid moment of solo, gay, bisexual and straight couplings, voyeurism and more. You will be seduced into accepting this orgy of sexual liberation!

The most dialogue you will ever see in porn and the most porn you will ever see in a melodrama, Thundercrack! is a volatile marriage of genres, fluid sexuality and depraved perversion. — D.A. JOHNSTON*

ABOUT TODAY IS BORING
Today is Boring is a film archive that undertakes film curation and events promotion, and film production. The archive now centres on research and reference for organisations and individuals, rather than the ad campaign-driven mass entertainment of the day. todayisboring.com

6:00 – 7:00 Hex Work: Selected Ritual Film Actions

Advanced discounted tickets available for 3.50 GBP at: wegottickets.com or 5GBP at the door.

The London Underground Film Festival presents three examples of the magick of cinema in Hex Work, a session of ritual film actions by Cosmotropia de Xam of Mater Suspiria Vision, Paul Kindersley and Angel Rose.

C R A 5 H E D (The Failed / Pernicia) has prepared a witch house / drone podcast to mark the occasion. Listen here: mixcloud.com

PROGRAMME:
Paul Kindersley - ALBERT, SKETCH FOR A BALLET
This film is edited from footage of performances of Paul Kindersley’s ‘Albert; Sketch for a Ballet’. Paul Kindersley is a London-based installation artist who maintains the “definitive guide to dressing like Albert from Dario Argento’s 1977 film ‘Suspiria’” (getthealbertlook.blogspot.com ). Drawing on camp, nostalgia and the extremities of exploitation movies of the 60’s and 70’s, his work explores the exaggerated filmic concepts and emotions of tragedy, eroticism, melodrama, violence and the tacky. He has exhibited widely, including at the ICA, Royal Festival Hall, Corpus Christi Library, and the Centre for Recent Drawing. paulkindersley.co.uk

Cosmotropia de Xam - FANTASIA
Fantasia is an “LSD witchcraft Trip Experimental film” by Cosmotropia de Xam of the ‘witch house’ act, Mater Suspiria Vision.
phantasmadisques.bigcartel.com

Angel Rose - RITUAL 1
The archaic understanding of the word glamour is “a magical spell or charm.” In Ritual 1, Angel Rose seeks to cast this spell, by way of the world’s most widely used fetish item – money. As an introduction, we are welcomed into “The Pink Palace Cult” as she recites the initiation rites. Equal parts performance and sacrement, Angel Rose is then mummified in dollar bills, and worshiped by a gang of dragged-up death gods. She has re-imagined this ancient Egyptian ceremony into a vsion of glamour, excess and hysteria. Hailing from Hollywood, California, Angel Rose moved to London to pursue a lifestyle of creativity and debauchery. A recent graduate of Goldsmiths University, her work explores trash culture and the darker side of glamour, combining elements of kitsch and surrealism into video and performance art. She has performed live at events such as Jodie Harsh’s Circus, Eat Your Heart Out and for Illamasqua Cosmetics.
7:30 – 9:30 Duncan Reekie: A Retrospective

Advanced discounted tickets available for 3.50 GBP at: wegottickets.com or 5GBP at the door.

As part of the London Underground Film Festival, Duncan Reekie will present and perform a selection of work including early Super 8 films, recent digital video and the world premiere of a new performance.

ABOUT DUNCAN REEKIE
Duncan Reekie has been a malign influence on British Underground Cinema for over twenty years. He has produced a diverse body of work that explores a variety of styles, techniques and purpose including narrative drama, scratching and colouring celluloid, multiple superimpositions, video collage and lyrical visions. Reekie has developed a mongrel praxis that refuses the institutional separation between theory and practice. It is subjective and chaotic, it is enmeshed in a complex system of political contingencies : he is an agent in the narrative. He is perhaps most celebrated for his performance work which features projected images and scathing rhetoric which is often mistaken for irony. He is a founder member of the infamous Exploding Cinema Collective, a radical open access-screening group and he was the co-ordinator, producer and co-director of the international Underground feature film MALDOROR (2001) that has toured extensively throughout Europe and America. His highly acclaimed book ‘Subversion: The Definitive History of Underground Cinema’ was published by Wallflower Press in October 2007. duncanreekie.co.uk

PROGRAMME

How We Are Born
A doctor explains the facts of life
1994 performance/ music/ Over Head Projector (5 mins)

DESTROY ALL MOBSTERS
A searing indictment of Avant Garde pretension.
Super 8 and performance 1993 (9.5 mins)

STICKLEBACK
Underexposed beach hi-jinx – scratched and hand painted.
Super 8 1994 (3 mins)

HAVELESS
My life underwater
performance/ music/ Super 8 1992 (13 mins)

THE CHAMP
A heartbreaking drama in which a man seeks to come to terms with the death of a beloved companion.
Video 1996 (8.5 mins)

FILM AGAINST FILM
The working class brainwashed by Avant garde film.
Starring Michael Caine and Malcolm le Grice.
Video 2006 (8 mins)

SON OF OEDIPUS #3
A psychedelic romp through Freudian lust in scratched and hand coloured celluloid. Featuring a NEW score by the fabulous Dog Rack
Super 8 2001 (10 mins)

Lord of the Wasps
The killer awoke before dawn
2005 performance/ music/ video (5 mins)

ARGONAUT
A journey into the heart of your own eyes
Video 2009 (7 mins)

The King in Darkness
A psychedelic/materialist reworking of H.P. Lovecraft and his cult.
Video 2008 (14 mins)

The Silence of Oz
Pay no attention to that man behind the curtain….
Video 2011 (4 mins)

My Arkive
Into the golden dawn…
2008 performance/ music/ video (5 mins)

From My Shadow Collection
Section 6. Sunlight through trees : wind
Video 2011 (6 mins)
10 – 11:30 A Redemption Films Premiere: The Owner

Advanced, discounted tickets are available at: wegottickets.com or 5GBP at the door.

The London Underground Film Festival and Redemption Films presents the UK premiere of the Argentinian horror film “The Owner” (aka El Propietario), directed by Valentín Javier Diment and Luis Ziembrowski.

ABOUT THE FILM
The Owner is a dark and perverse film that centres on an aspiring lesbian actress and her girlfriend who become the focus of their landlords voyeuristic obsession. The Owner is one of a new wave of South American horror films that are genuinely pushing and exploring the presentation of horror in exciting and provocative ways and, while not for the faint-hearted, this exploration of possessive madness and sexual depravity will not be easily forgotten.

ABOUT REDEMPTION FILMS
The Salvation Group currently consists of four main divisions Redemption Films, Purgatory, Triple Silence, and Salvation TV. Redemption Films was formed in 1993. Redemption was a genuinely ground-breaking film label which brought the works of Jess Franco, Jean Rollin, Dario Argento, Mario Bava, Bruno Mattei, Lucio Fulci, as well as numerous other films that had previously been banned as video nasties or that were just not available, to a wide mainstream audience. Redemption’s highly distinctive black, white and red packaging became instantly recognizable on the shelves of retailers and Redemption’s insistence on releasing films in their correct ratios, in their original language and, UK censors permitting, uncut, rapidly established Redemption’s reputation among horror fans. Since its founding the Redemption label has gone through a variety of changes and challenges including having had more films banned by the BBFC than any other distributor (Bare Behind Bars, The Sadist of Notre Dame, Sadomania, Love Camp 7), launched in the United States, and generally striven to maintain its reputation and commitment to cutting edge and transgressive cult cinema. salvation-films.com
Sunday, 4th December

For day tickets, visit: wegottickets.com
12pm – 1:30pm 6ft Hick: Notes from the Underground

Advanced, discounted tickets are available at: http://www.wegottickets.com/event/143733 or 5GBP at the door.

Strip the $$ out of rock ‘n’ roll, restore the danger and you’re left with the raw force of 6ft Hick. Slog 6,000 kms across Europe with Australia’s mangiest rock band, through 15 shows in 18 days, in a world where managers, roadies and riders give way to blood, sex, and pure adrenaline.

ABOUT 6FT HICK
‘6ft Hick: Notes From The Underground’ is a behind-the-scenes music documentary that reveals the messy, all-too human face of the low-budget music scene in stark contrast to the perceived glamour of an internationally touring rock band. Raised on a chicken farm in rural Nambour, on Australia’s northeast coast, front men Geoff and Ben Corbett sought their artistic beginnings in the 80s, dabbling in punk and performance art. They milked their North Queensland roots relentlessly for its inbred, bigoted imagery, filtered through wicked wit and self-deprecation. Touring for 15 years, the band has become an underground institution. One reviewer described their show as “an indistinguishable pulverising barrage of screams, sweat, spit and blood flowing over a fierce, raw pulsing din.” Their shows engender an atmosphere of trance and possession as the duo lurch around the stage, barrel into the crowd, hang upside-down from lighting rigs, drink beer from boots, eat the contents of ashtrays, and blood let.

Their mild-mannered alter egos spend every waking moment maintaining day jobs and living normal lives, and amassing resources until they may re-awaken that beast. This documentary takes stock of the 6ft Hick machinery: what motivates and drives them in a world where music is about cashing in or bowing out? Offstage, these same figures are humble, considered and witty, offering candid insight into what they’ve created.

Directed by Marty Moynihan and produced by Karina Astrup. 6fthicknotesfromtheunderground.com
2pm – 3:30pm All My Friends Are Funeral Singers

Advanced, discounted tickets are available at: wegottickets.com or 5GBP at the door.

LUFF Features Curator, Jack Sargeant, has selected Tim Rutili’s 2010 “All My Friends Are Funeral Singers” for your viewing pleasure.

ABOUT THE FILM
A unique, strange and very personal American gothic tale that focuses on the life of psychic Zel (Angela Bettis), a fortune teller who lives in a large house next to woods. Filled with ghosts including what appears to be a blind band (played by Califone), a bride and a priest amongst others, Zel offers her clients and the ghosts a conduit between worlds. Her daily routine consists primarily of channeling these spirits for her clients, helping the dead advise the living, until one day a light appears amongst the trees… Punctuated with beautiful musical interludes performed by ‘post-rock’ band Califone All My Friends Are Funeral Singers is a dream-like movie that offers a vision that combines an eclectic surrealism with an off beat narrative sensibility. First time director Rutili’s work showcases the return of the indie director as a visionary filmmaker, immersed within his own creative world, a welcome change from mumblecore.
4 pm– 5:30pm Pixel Pirate 2 / The History of American Cinema

Advanced discounted tickets available for 3.50 GBP at: wegottickets.com or 5GBP at the door.

“Sydney bred and – at least for the time being – Berlin based Soda Jerk have created a number of essential plunderphonic shorts which have wowed the underground circuit for the last few years. Their latest work is an album length mash-up and joyous cultural assault. Pixel Pirate 2: The Director’s Cut re-imagines the role of cinema and the function of entertainment via some very sacred and familiar icons. This wild movie lays down the guantlet against all who want to uphold traditional notions of image and sound. Hilarious, gleeful and genuinely subversive remix entertainment! Pixel Pirate 2 is a shot of adrenalin into the imagination and a glorious realisation of the power of détournement”. Jack Sargeant, features curator for the London Underground Film Festival.

The session will start with a screening of Nick Ebeling’s short film “The History of American Movies 1974-2004”, with a score by Felix Da Housecat.

ABOUT PIXEL PIRATE 2
This 52 min video work is a critique of intellectual property law and a speculative history of sample-based culture that takes the form of a sci-fi / biblical epic / action movie. It is entirely constructed from audiovisual samples pirated from over 300 different sources. The narrative of this anti-copyright epic concerns a team of lunar video pirates who are trying to liberate recorded culture from the control of the evil tyrant Moses and his Copyright Commandments. The pirate’s plan: to abduct Elvis Presley from the past and use his DNA to produce a video clone capable of assassinating Moses — thereby altering the course of video history. First released in 2006, this project has been dramatically re-edited and re-envisioned for the 2011 Director’s Cut.

ABOUT SODA_JERK
Working together since 2002, Soda_Jerk is a collaboration between sisters Dan and Dominique Angeloro. They are based in Berlin and Sydney. In their video installations and performance lectures Soda_Jerk work with audiovisual samples to create speculative narratives that revise and interrogate historical events and cultural trajectories. By atomising and reassembling recorded culture they aim to manufacture counter-mythologies of the past that open new possibilities for thinking the present. This conceptual strategy also informs their practical methodology where sampling becomes a means of synthesising space-times to create alternate historical realities, producing a form of radical historiography that merges research, documentary and speculative fiction.
6pm – 8:30pm Maldoror: The Last Film Ever Made

Advanced discounted tickets available for 3.50 GBP at: wegottickets.com or 5GBP at the door.

The London Underground Film Festival presents (and maybe even on 16mm) MALDOROR, a feature film in twelve Super 8mm episodes made by and starring the no-torious no-bility of UNDERGROUND CINEMA.

ABOUT MALDOROR
Maldoror whose lips are sulphur, whose eyes are jasper, is stranded on Earth amongst the humanity he hates. His dark shadow haunts the day. At night he is pursued by phantoms and the memory of his unspeakable crimes. He searches the darkest secret corners of the world for revenge, for rest, for a companion. But he only ever finds horror, death and an endless battle against his arch enemy God and his loathsome Son. After an encounter with a festering angel, an amorous shark, a divine pubic hair and a dog on wheels, Maldoror embarks upon a course that leads inevitably to the final apocalyptic clash with the Creator himself!

ABOUT THE FILM
In 1998 Duncan Reekie of the London Exploding Cinema Collective and Karsten Weber of the German Filmmgruppe Chaos got together and decided to make a Super 8 feature film of the infamous novel by Lautreamont. They selected around fifteen underground filmmakers/film groups from England and Germany and sent each one a chapter from the book and an invitation to make a film out of their chapter. Each maker could use different techniques, styles, actors and locations but there would be a voice over narration by one narrator over the entire feature.There was no budget for the production, the filmmakers had to put up their own money, although Karsten managed to raise some post- production finance. The makers dug out their cameras, blackmailed their friends and relatives into assistance and began to shoot. Some of them studied the novel, some of them read their chapter once through and then immediately lost it. Film came back overexposed , underexposed, out of focus, friends split up, equipment broke down, an irreplaceable roll of film disappeared. Three filmmakers dropped out. Two years later the surviving twelve emerged bleary eyed from darkened attics and smoke filled cupboards with edited films which were then enlarged to 16mm and assembled into the feature length film.Premiered in Germany in April 2000, Maldoror has hypnotised and thrilled both audiences and press… a cult classic for the price of a second hand car. The action takes place somewhere behind an impossible mesh of sex, violence, emulsion, bacteria, oil, bleach, petals, glue, dirt, abrasion, acid, superstition, glare, fur, insomnia, amphetamines and deep blue cold water. At first this mesh appears to be on the screen but slowly you realise that it is in fact behind your own eyes ! Despite its subject matter Maldoror is perhaps the most realistic feature film ever made, for although the big budget multiplex features strain with every tense and twisted fibre to conjure a world of carefree spontaneity they cannot compete with the reality of filmmakers who really don_t give a fuck. Whilst the multiplex constructs its reality with narrative, style, action and music, Maldoror uses all these techniques but also adds real human conflict, chance, technical distortion, film surface scrimshaw, creative democracy and diversity. Maldoror does not just conjure the illusion of reality, it is actually real at the same time. Its got something that the multiplex cannot offer…… WILDNESS. We have identified a gap in the market and we have turned that gap into a terrible breach. Make no mistake once you have seen it all other films are meaningless. After Maldoror, filmmaking is no longer possible; in fact, it no longer has any purpose.

“Les Chants de Maldoror is an essay and meditation about evil, rendered with sparkling wit and striking, strongly visual imagery.” Gillian McIver

“…has a demented integrity” The Village Voice, New York

“one of the strangest films to come out of Britain in years.” The Guardian

“The implications of this kind of filmmaking are huge.” Discorder Magazine

“…this is true underground cinema.” Fortean Times

“…a wild and bewildering affront to common civilised cinema.” Time Out

ABOUT THE FILM-MAKERS
Kerri Sharp • Filmgruppe Abgedreht • Duncan Reekie • Caroline Kennedy • Colette Rouhier • Filmgruppe Chaos • Steven Eastwood • Jenigerfilm • Andrew Coram • Hant Film • Paul Tarrago • Jennet Thomas • German voice over Feridun Zaimoglu • English Voice over Duncan Reekie • Based on the novel by Isidore Ducasse a.k.a. the Comte de Lautreamont translated by Alexis Lykiard • Idea and Co-ordination by Duncan Reekie and Karsten Weber • 16mm post-production supported by Kulturelle Filmforderung Schleswig-Holstein e.V. bak.spc.org
9pm – 10:30pm Jon John’s “The Two of Us”

Advanced discounted tickets available for 3.50 GBP at: wegottickets.com or 5GBP at the door.

The London Underground Film Festival is proud to present a live art and video performance by the French performance artist Jon John.

ABOUT JON JOHN:
JJ’s work is based on ritualistic acts, going through various civilisations, cultures, religions, eras and aesthetics. Using ancient procedures and rituallistic rites and merging them with his contemporary vision Jon John shows us something fresh. His performances result in physical live acts mixed with eroticism, mysticism, poetic sensibility and emotions. Love, sex, relationships and romanticism remain in his resently developed work. Jon John collaborates with artists such as Ron Athey, Kiril Bikov and Juano Diaz. This year marks his tenth year of performing in many art spaces and events all over Europe. http://www.jonjohn.net/

ABOUT “THE TWO OF US”:
This piece, The Two Of Us, will be the first performance of the complete work to be performed in London. Accompanied by a video installation, Jon John shares with the audience the ecstatic through his blood letting automatic writing (ecrits pourpres).

Live, Now

http://www.thehorsehospital.com/now/the-london-underground-film-festival-2011/

HAZ EN FERAL DEBRIS # 5

Portada de HAZ para el nuevo número del buenísimo fanzine inglés Feral Debris, especializado en sonidos esotéricos y que viene acompañado de un cd con oscuridades de Nacht und Nebel, Usurper y Preslav School of Industry, entre otros.

Por 3,50 libras (gastos de envío incluidos) puedes pedirlo aquí:

http://www.feraldebris.blogspot.com/

22 november-Zipangu Fest & Kinema Nippon presents: NIPPON re-read ft. films by Takahiko Iimura, Takashi Makino, Yoi Suzuki, Daisuke Nose, Stom Sogo, @

Zipangu Fest & Kinema Nippon presents: NIPPON re-read ft. films by Takahiko Iimura, Takashi Makino, Yoi Suzuki, Daisuke Nose, Stom Sogo, Tomonari Nishikawa, Eriko Sonoda, Toshio Matsumoto, Shiho Kano and Shinkan Tamaki + Bo Ningen soundtracks 'Cat Soup'

Tuesday 22nd November 2011



Door Times : 7.30pm

Tickets : £5



Zipangu Fest returns with a strong experimental film programme for 2011, thanks to curator Julian Ross. Come and enjoy a fine spectrum of experimental moving image works from Japan, for a good cause! All proceeds from this screening will go towards Japan disaster relief via Japanisch-Deutsches Zentrum Berlin.

The films in this two-part programme from Kinema Nippon (curated by Aily Nash and Nine Yamamoto-Masson) range from late 60s to contemporary works. Although varying greatly in their formal and aesthetic concerns, the works all rigorously reexamine the everyday through their respective experiments and innovations in their medium.

In addition to the film programme outlined below, BO NINGEN - London's premier noise rock band - will perform their live soundtrack to 'Cat Soup' - a wonderfully surreal and deceptively simple landmark in experimental animation inspired by the manga artist Nekojiru. Tatsuo Sato pays homage with an explosion of colours and twisted deliriums that follow Nyatta's series of eccentric encounters as he journeys in attempt to retrieve his sister's half-soul.

The soundtrack was specially commissioned by the Branchage Film Festival.

This screening is part of the Zipangu Fest 2011 main festival (18-24 November 2011).

PROGRAMME I - 68min

Abstractions of the mundane are seen in the graphic films in Programme I, which deal directly with the materiality of their medium rather than focusing on a visual referent. In White Calligraphy Re-Read (1967), Takahiko Iimura activates the Japanese characters of the Kojiki, the earliest Japanese historical chronicle, by deconstructing text into its constitutive graphic ciphers. These works, including Lika (2007) by Stom Sogo, and Still in Cosmos (2009) by Takashi Makino, direct the attention of the viewer to the pictorial, emphasizing more painterly concerns, digital and celluloid textures, the visceral correlation of sound and image, and of flatness versus representational depth.

White Calligraphy Re-Read Dir. Takahiko Iimura 1967 12min 16mm

In White Calligraphy Re-Read, the Japanese characters of the Kojiki (the oldest known written record of Japan, from the eighth century) are scratched directly onto dark leader, one frame at a time. When projected, it is too fast to read, rather it appears as an abstract line animation. It recalls the automatic writing of the Surrealists, as the characters become lines that rapidly explode like fireworks.

Still in Cosmos Dir. Takashi Makino 2009 18min 35mm/16mm/video (music by Jim O'Rourke)

What may at first appear like an abstract film of hypnotizing visual noise slowly deploys its singular captivating force as it reveals itself as a dense layering of light traces and images. Still in Cosmos depicts Makino's conception of what lies in the cosmos beyond our imagination. Multiple exposure and single frame images are compounded, rendering the myriad and infinite images that make up the chaos of the cosmos.

See-Sea-Saw Dir. Yoi Suzuki, Naoto Kawamoto, Manami Tanaka, Takehiro Nakamura, Kengo Yagawa, Gerelyn Rhine R Bernardino, Adi Bersales, Jacques Palami, Kimberly Batac Accoreza, Marie Joseph Foz Baquiran 2010 10min 16mm

See-Sea-Saw is the result of a collaborative project between four students from Tama Art University's Department of Moving Images and Performing Arts and five students at the University of the Philippines Film Institute, under the supervision of film professor Yoi Suzuki. Highly collaborative and experimental in essence, it is a singular portrait of two places and two sentiments, Japan and the Philippines. Following the leitmotifs of hands, water, and a radiant sun, the images and soundtrack incorporate the bodies of the filmmakers, their language, and field recordings from Manila Bay and Tokyo Bay. Intuitive processes (cine-calligraphy and direct painting on hand processed 16mm film) highlight the characteristic materiality of film while the work's vibrant imagery and soundtrack examine the spirited nature of collaboration, communication, and creation across cultures.

Down the Line Dir. Daisuke Nose 2000 2:30min 16mm

A short work that reveals the physicality of the film medium, and playfully highlights its idiosyncratic imperfections.

Lika (Licre) Dir. Stom Sogo 2007 26min video

Lika is a glimpse into the mesmerizing world of Stom Sogo: a lush kaleidoscope of manipulated video fragments set to an entrancing electronic score. Lika subverts common signifying processes as it weaves rhythmic variations of radiant textures into a captivating immersive experience, equally mysterious and seductive in its masterful play with degrees of abstraction.

PROGRAMME II - 67min

The works in Programme II offer a poetic investigation into the fragmentary experience of the quotidian by eschewing narrative and rendering cultural images and references to unveil the uncanny within the familiar. Tomonari Nishikawa's in-camera manipulation of bustling metro hubs in Shibuya-Tokyo and Tokyo-Ebisu (2010), as well as Shiho Kano's pensive meditations on quintessential Japanese subjects form a counterpoint to Toshio Matsumoto's split-screen filmic hallucination of the late-60s underground, For the Damaged Right Eye (1969).

Shibuya-Tokyo Dir. Tomonari Nishikawa 2010 10min 16mm

Tomonari Nishikawa's Tokyo–Ebisu is an entrancing in-camera patchwork constructed from multiple viewpoints from the platforms of Tokyo's busiest rail line, the Yamanote, which runs as a loop. At each of its twenty-nine stations, following a clockwise route, Nishikawa recorded scenes of busting commotion distilled by his camera magic into spectral apparitions of trains, people, and advertising billboards, creating an unusual portrait of a mega-city.

Tokyo-Ebisu Dir. Tomonari Nishikawa 2010 5min 16mm

Tokyo-Ebisu shows the views from the platforms of ten stations on the Yamanote line, from Tokyo station to Ebisu station clockwise. The in-camera visual effects and the layered soundtrack enhance the character of each location.

Kagi Dir. Eriko Sonoda 2005 6:30min 8mm

Quietly complex, Kagi (the Key) uses stop-motion animation in a two-fold manner: many life-sized photographs are affixed to the wall of a domestic space through which Sonoda moves, these are recorded frame-by-frame, simultaneously rendering multiple temporal and physical dimensions.

For the Damaged Right Eye Dir. Toshio Matsumoto 1969 12min 16mm

For The Damaged Right Eye was made at the same time as Toshio Matsumoto's wildly experimental and critically acclaimed feature film Funeral Parade of Roses. It features some of the same footage, presented in a split-screen format. Across the screen, juxtaposed images compete with each other or provide clues to one another. Formally, it demands active viewership as it challenges habitual structures of perception. In a fast-paced collage of rapid edits and sounds it cinematically renders the built-up tension and latent contradictions underlying the late-60s counter-culture in Japan, addressing highly charged themes of gender, sexuality, violence, and activism.

Shinonome Omogo Ishizuchi Dir. Shiho Kano 2008 15min video

Kano's contemplative piece on early Japanese filmmaker Mansaku Itami was inspired by a simple landscape photograph taken by him while traveling. Shinonome Omogo

Ishizuchi is Kano's imaginative interpretation of what Itami might have seen on his journey. Layering his original film footage with her own from the present, she creates a space in which images from multiple eras resonate with one another rendering a lyrical exploration of nostalgia.

One Record on December Dir. Shinkan Tamaki 2007 6:30min 16mm

One Record on December seems to contain a virus that affects the image: disorientating imagery, fragmentary 16mm shots of crowds of walking people, printed in reverse black and white, grow more and more uncanny with the increasing intensity of formal alienation from their original referent. Visible spots and stripes add to the unrest. Slowly, cracks and tears appear, until eventually the emulsion completely flakes off. What remains is blank film, and silence.

Time for Radio Exercise Dir. Daisuke Nose 2003 11:30min video

In Time for Radio Exercise, Nose deconstructs the quintessential quotidian activity—exercise—and rhythmically edits the course of a year into the frame of a single ten-minute routine, collapsing time by way of seasonal cues. Nose highlights the presence of a single moment repeated throughout a year, and a year seen through a single moment.

Kinema Nippon website
http://www.kinemanippon.org/

Zipangu Festival website
http://zipangufest.com/events/2011/nippon-re-read-radical-fragments-and-abstractions-from-japan-i-ii

11 november-NOISE=NOISE London

noise=noise

leaky dielectrics, bio feedback

THE BODY IS INTEGRATED

live performances from…

UNIFORM http://www.youkneeform.com/

RYAN JORDAN http://ryanjordan.org/

MELANIE CLIFFORD http://www.melanieclifford.net/

LUCY THANE http://lucyt.wordpress.com/

ANITA KONARSKA

ZON ON N http://www.touchradio.org.uk/touch_radio_51_zon_on_n.html

11.11.11 8pm-late leaky bar £5

Unit 61 Regent Studios 8 Andrews Road Hackney E8 4QN

http://nnnnn.org.uk/

racklisting:

AA. VV.: L'interpretazione dei sogni (Silenzio Statico Prod.)

Side A:
a01+02 - The tapes: Il sogno di S. - C - Totem
a03 - M.C. 66: Risveglio in un altro mondo
a04 - M.C. 66: Sogno
a05 - Lyke Wake: The gates of the dream
a06 - Radical Change & Tito Turbina Tastierista Futurista: Death of the pop noise (remix)
a07 - Luca rigato: Posizioni lunari
a08 - Luca Rigato: Un vortice dal pensiero

Side B:
b01 - L.S.D.: Qui c'è puzza di cimitero, amalgama
b02 - Immemoria: superficie
b03 - Stato terminale: Sequenza di immagini allucinate
b04 - Officine Schwartz: Albatros B.M.U.
b05 - Nightmare Lodge: Circles
b06 - Spiral dawn bed: A solitary damage
b07 - Negativ person: Maestosa desolazione (again)


--download
http://www.divshare.com/download/15863973-0f4

sab 12 nov: CORROSIVE CONTAINER @ SPAZIO CONCEPT - MI

THE CORROSIVE CONTAINER: one-day event che presenterà´ il progetto artistico berlinese XLAB, con una mostra collettiva di alcuni dei numerosi artisti provenienti da tutto il mondo che hanno esposto all´interno dei suo spazi a Kreuzberg in questi primi due anni di attività´.

Inoltre live paintings durante tutto l’arco del pomeriggio, e in serata electronic live perfomance, videoproiezioni, videomapping , suoni e rumori a cura dell etichetta indipendente milanese Rxstnz, condurranno il pubblico tra visioni di metropoli post-atomiche, città distrutte, alienazione, corrosione, creature notturne, protesi meccaniche e mutazioni.

THE CORROSIVE CONTAINER è un racconto di gruppo, il diario di un viaggio percorso insieme tra le città´ in bilico del nuovo millennio: il vento freddo del nord diffonde scorie artistiche che si propagano veloci, contaminando i luoghi dove si soffermano, modificandoli per sempre.

apertura al pubblico ore 15.00 - fino alle ore 01.30
ingresso 5 euro

MOSTRA COLLETTIVA

Akab / Czarnobyl / Darkam / Andrea Chiesi / Vincenzo Grosso / Karl Persson / Erik Kirton / Giacomo Spazio / Valeria Maggiani / Joykix /Senso / Vincenzo Pattusi / Discordant / Welcome2mars / Paola Verde

LIVE PAINTING

Seacreative / Tenia / Darkam / Akab / Czarnobyl / Ludo 1948

VISUALS e VIDEOMAPPING

Vj Boxikus (Berlin)

LIVE SET

Tonylight ( 8 bit – Milano)
Hyena666 (pre holocaustics post electronics – Milano/Rxstnz)
AO34 (pre holocaustics post electronics – Milano/Rxstnz)
David Dexter Lab ( Electro-synth pop – Berlin/Wroclaw)

XLAB CORROSIVE ART FARM - berlino -
http://www.xlaboratory.org/
REXISTENZ indipendent music label - milano -
http://www.rexistenz.org/
TOYLET MAG
http://www.toylet.it/
SPAZIO CONCEPT
http://www.spazioconcept.org/

Cuerpo Transitorio

http://cuerpotransitorio.blogspot.com/

PRESENTACIÓN de MUSSOLINA en EAT MEAT

Pues cómo no, como diría Juan Solo.

En mi humilde micromundo, algo que importa: la presentación de MUSSOLINA en mi casa, en Eat Meat. No lloro -básicamente- porque soy un tipo duro (mood Miguel Bosé), pero en cuanto nadie me mira permito que se me vidrien un pelín los ojos (mood Candy Candy).

http://www.eatmeat.cat/

Para la presentación de lujo en Barcelona contaremos con las colaboraciones de Joana Brabo, Sebastià Jovani (prologuista de excepción), Steven Fifty & Riccardo Spiritini (a.k.a. TAR KAMPA), Placton, Irina Wagner y evidentemente del propio autor, que ha prometido que esta vez no llegará ni tarde ni demasiado cocido.

Varietés, música, poesía y cachondeo ácido pa' quien lo quiera.

Sábado 5 de noviembre, 20:00 h. Entrada libre.
Precio del libro: 12 €

http://www.riot-uber-alles.blogspot.com/

NUEVO ORDEN + SOY UN POETA

Para crear incentivos, si ello fuera o debiera ser necesario (o simplemente indicado).

Coincidiendo con la presentación de MUSSOLINA el próximo sábado 5 de noviembre en Eat Meat, presentaremos también subliminal y clandestinamente 2 fanzines con los que, de una forma u otra, tengo suficientemente que ver.

El primero (del cual hacemos públicas tan solo unas pocas páginas) es un fanzine creado a partir de un impulso muy similar al que en su momento generó MUSSOLINA: Beatriz Moreta (musa, señora de Über Alles, correctora de estilo y principal destinataria del poemario) y aquí el amigo Disturbios regalarán a los primeros 20 compradores del libro MUSSOLINA una de las 50 copias disponibles de NUEVO ORDEN, escrito por ella e ilustrado por su marido. Numeradas y lacradas en exclusiva, una obra de naturaleza íntima y subterránea que, creemos, complementa a la perfección el rictus de lo acontecido.

http://youthofnausea.tumblr.com/

El segundo es otro fanzine que también regalaremos con los primeros 20 ejemplares vendidos en Eat Meat (reitero, en rigurosa exclusiva y nunca-más-se-supo) que ha creado involuntariamente mi mejor amigo, El Paloma, personaje con el que -a parte de una inquebrantable amistad y una relación drogadicta de lo más afable- no solo comparto un programa en Radio Bronka 104.5 fm: más allá de eso, es mi más veraz crítico. La cosa va de lo siguiente: cuando escribí mi opera prima, titulada El Plan Cáustico, una de las primeras cosas que hice fue hacerle llegar una copia. Al recibir el ejemplar, El Paloma primeramente se regocijó de lo deslizante y poco adherente del material con el que estaba confeccionada la portada, pues le facilitaba enormemente la posibilidad de trabajar sobre ella sus medicinas. Días más tarde, simplemente vino y me dijo: "mira tío. Yo te quiero mogollón. Y de verdad que me alegro que hayas escrito un libro y eso, es de puta madre. De verdad que lo es. Pero que sepas que me lo he leído y NO HE ENTENDIDO UNA PUTA MIERDA."
Y la verdad es que el librito era de lo más mediocre, ciertamente. Razón tenía, a su manera.
Mi desazón fue tal que desde entonces lo coroné no solo como mi mejor amigo (cosa que ya era), sino como el medidor que había de evaluar la validez final de mi obra. Es decir: cada vez que escribo un libro, algo, lo que sea. Cuando hago algo, se lo enseño. Y le pregunto si le gusta.
Y si a mi amigo le gusta, entonces la cosa va bien.
Si no, algo falla.

Porque se trata de los tuyos.
En plan gitano, you know.
Y a partir de ahí, todo es incuestionablemente relativo.


Dicho fanzine se compone de una recopilación de imágenes que, mayoritariamente durante nuestras habituales sesiones de narcosala, fue generando sin ton ni son, con el único objetivo de hacerme saber que, a pesar de lo mucho que me quiere, resulta demasiado tentador reconocerme como lo que aparento: un profundo capullo, engreído y en absoluto consciente de su intranscendencia. Como la mayoría de autoproclamados artistas de esta ciudad condal, de en general todo el mundo civilizado. Sea válido comentar lo ridículo que resulta tan solo adjudicarse importancia más allá del onanismo. Justo es vaciar tu depósito de vanaglorie en tanto te meneas tu cacharrito creativo a la mínima de cambio, pero intenta que dicha polución no le ensucie los bajos del pantalón al resto de personas que por desgracia deben compartir contigo el aire.

Y es que el ego es la peor de las jodiendas: un auténtico auto-strap-on que paradójicamente te molestas en no sentir, mientras tu culo mental sangra como una cerda en pleno san Martín. El error de errores. La ridiculez cosificada en tu carne azulada por la falta de riego e interés. En fin, pura mierda: una forma condescendiente de cáncer que, afortunadamente, tiene cura. Solo tienes que desestimar la traición y la estupidez que miserablemente te seduce cuando nadie mira y tienes la oportunidad de encolomarte el filete más grande.

http://www.riot-uber-alles.blogspot.com/

HAZ EN HUESO ZINE

Minidibujo de HAZ para el nuevo fanzine gaditano Hueso.

http://picozines.blogspot.com/2011/10/hueso-y-black-hole.html

Puedes echar un vistazo a este y otros zines aquí. 
http://picozines.bigcartel.com/

LA FURA DEL BAUS

--HISTORY

1979
La Fura started as a street theater group acting in different towns and cities around Catalonia. This first phase lasted 5 years and was a time when the group was experimenting with many of the aesthetic features that would later form their distinct theatrical language.

1984
Accions (Actions) had its debut in Barcelona, as part of the Cicle de Teatre Obert. Accions, which was performed 118 times in different cities, already clearly showed the key features of the Furan language: interaction with the audience, the use of unusual spaces and the adaptation of the show to the characteristics of each space. This performance catapulted La Fura into the international theater scene, where they were hailed as a cult group.

1985
Just one year after the debut of Accions, the company presented Suz/O/Suz, the second installment of the Trilogy. With this show La Fura crossed borders and set off on an international tour comprised of more than 290 performances, the longest of the group’s history even today. Suz/O/Suz provides La Fura with a look and feel to their shows that is now clearly identifiable.

1988
The Trilogy is completed by Tier Mon, perhaps the darkest and most pessimistic of La Fura’s shows to date. While Suz/O/Suz reflected on man in the abstract through ritualization, Tier Mon deals with power and domination mechanisms based on the control of food, energy and religious faith.

1990
With the Trilogy complete, La Fura opened themselves up to the search for a more complex and sophisticated scenic language. Their starting point was the idea that Chaos is the primordial source for creation, and in Noun they embraced technologically advanced scenic resources, in contrast to the production values they had employed up until that point.

1992
Inquiry has always been a constant feature in the work of La Fura dels Baus, ever since the beginning. When the Olympic Games were scheduled for Barcelona in 1992, the company received the commission to conceive and develop a performance for the opening ceremonies. Mediterráneo, mar olímpico was the result, and it brought La Fura dels Baus to an audience of billions of people throughout the world. From that moment, the group begins to explore the possibilities of performances designed for a mass audience.

1994
The temptation to develop a show about manipulation resulted in MTM, probably the most “political” work La Fura has created. In MTM the Furan language, now perfectly consolidated, was combined with a staging where video and mirror play lead to different readings of what is “true”. The major innovations of MTM are in its use of textual language, a first for La Fura.

1996
In this year La Fura began a new working method: various projects were developed at the same time under the direction of different members of the group. This change in the company’s internal protocols brought about the development of Pepsíclope in 1996, a macro-​performance designed to present a commercial product; Manes, a Furan language performance continuing along the lines of Tier Mon and MTM, and La Atlántida, the group’s first staging of an opera.

1997
The first taste of opera with La Atlántida, enriched by the collaboration with Jaume Plensa, was continued with The Martyrdom of Saint Sebastian. The work by Debussy, laden with symbols and alternate readings, fit perfectly with the group’s aesthetic and reaffirmed their relationship to opera.
In 1997 La Fura also developed Symbiosis, a traveling large-​scale performance that visited several European cities to celebrate the launch of a new car model.

1998
F@ust 3.0 and Ombra (Shadow) were the two performances that La Fura premiered in 1998. The first, F@ust 3.0, was significant for two reasons in particular: it was the first time the group approached the myth of Faust and, in addition, the first that used an Italianate theater as a setting. The idea of Faust, so close to modern art and modern man, will be a theme that La Fura will return to in the future.
Ombra, the second of the works by La Fura this year, revolved around the figure of the poet Federico García Lorca and brought the group’s work to a more intimist formula, but without giving up the strength that characterized their work.

1999
In the year that marked the end of the century and the dawn of a new millennium, La Fura presented three performances, each with a very different format and intentions. Furamòbil (Furamobile), the first of the three, returned to the very Furan concept of demanding audience participation, as the show/machine was set in motion by the spectators/participants.
La condenación de Fausto (The Damnation of Faust), the staging of the opera by Berlioz, was the company’s second look at the Faustian myth and was extraordinarily successful when it debuted in the Salzburg Festival. This show, developed in collaboration with Jaume Plensa, signaled La Fura’s arrival to the mature phase of its relationship with the opera.
For La Fura the century drew to a close, literally, with a macro-​performance, L’home del mil·leni (Millennium Man), which took place in the center of Barcelona to celebrate the new year, the new century and the new millennium.

2000
Using a hallowed classic text, Macbeth, as its starting point, La Fura developed ØBS, a Furan language performance characterized not only by its adaptation of a well-​known play, but also for its exploration of certain resources, such as 3D images and the preparation of the project via videoconferencing.
The other big project for La Fura dels Baus in 2000 was DQ. Don Quixote in Barcelona, a newly created opera, with music by José Luis Turina and libretto by Justo Navarro, which debuted in Barcelona’s Teatro del Liceo and recreated a futuristic plot centered on the figure of the ingenious knight from La Mancha. The scenic design was created by Enric Miralles and Benedetta Tagliabue.

2001
Once again La Fura takes on three new projects in a single year.
La navaja en el ojo (Knife in the Eye), a macro-​performance that took place in Valencia’s Ciudad de las Artes y las Ciencias to celebrate that city’s First Biennial, was seen by an audience of more than 30,000 people and recreated the seven deadly sins using highly sophisticated scenic elements.
Fausto 5.0 (Faust 5.0), the last part of La Fura’s Faustian trilogy, is the first film created entirely by the group, in collaboration with Isidro Ortiz. The film, which won the Melies Award for best fantastical European film, was a hit with critics and audiences alike.
Las Troyanas (The Trojan Women), Euripides’s classic that has been making us reflect -for thousands of years- on war and its consequences, was La Fura’s final project for 2009, in collaboration with the legendary Irene Papas.

2002
A particularly fruitful year for the company. Four projects were debuted, along four very different lines.
Sobre los acantilados de mármol (On the Marble Cliffs), an opera based on the novel of the same name by Ernst Jünger debuted on the 8th of March, and was performed 12 times at the Nationaltheater of Mannheim, with music by Giorgio Battistelli, texts by Giorgio Van Staten and staging by La Fura dels Baus.
Two months later, at the Teatro Guerra de Lorca of Murcia was the premiere of XXX, a work based on the Marquis de Sade’s Philosophy in the Bedroom, which toured Europe and the Americas extensively. XXX revisited concepts such as sexuality, pornography and violence as seen through La Fura’s particular vision.
In June, the macro-​performance The Divine Comedy, an adaptation of the classic by Dante Aligheri created especially for the Classico Italia was seen in Florence’s Piazza Pitti by an audience of thousands.
And, lastly, barely 20 days later, at the Teatro Massimo in Palermo, La Fura dels Baus debuted their particular staging of Hector Berlioz’s Symphonie Fantastique. This important musical piece had never before been adapted to the stage.

2003
The major project for this year was the staging of The Magic Flute, once more in collaboration with Jaume Plensa, one of the most relevant visual artists on the contemporary scene. This version by La Fura dels Baus of one of the most well-​known and celebrated operas of all time, explores the subconscious based on the abundant symbolism contained in the work, which has been the subject of reflection and study ever since it was first performed in 1791.

2004
The search for new surroundings in which to perform that could be adapted to fit their aesthetic and artistic trajectory lead La Fura dels Baus to acquire an old cargo ship on which to construct the Naumon project. The boat, outfitted as a stage and a hub for performances, offered different scenic possibilities and sparked a series of performances, in different formats, centered around the idea of a journey, of an itinerant scenic setting.

2005
A piece designed for the traditional Italianate theater, Metamorphosis, received unanimous praise from critics. This performance, based on Franz Kafka’s most emblematic text, offered a reflection on loneliness and otherness, the recognition of the other, the different.
That same year, for the celebration of the Mediterranean Games in Almeria, La Fura was commissioned to design the opening ceremonies. The result was Al-​mariyat Bayyana, a macro-​performance that re-​examined the host city’s history from a recreation of its major moments.

2007
The company’s activities have been diversified to the maximum. In this year they designed the opening ceremony for the World Track Cycling Championship using a large-​scale performance that symbolized the sport’s dynamics and the union of countries coming together in competition; they debuted Imperium, a Furan language performance that is still currently touring; they performed the macro-​performance Cutty Sark Shanghai-​London in various Spanish cities; and, lastly, they participated in the project La hija del cielo (Daughter of Heaven), the first opera entirely from the Canary Islands, in subject and development. Also in 2007, The Rhine Gold premiered in Valencia, the first of the four operas that compose The Ring of the Nibelung by Richard Wagner.

2008
La Fura dels Baus participated in Adeu a la tele (Goodbye TV) (an exhibition on the end of analog television and the switchover to DTV) and La ciudad inventada (The Invented City) (a program of performances in Logroño designed as urban interventions). In addition, two more installments of the tetralogy The Ring of the Nibelung, Siegfried and The Valkyrie, have their debut, as well as Boris Godunov, a daring reflection on the problem of terrorism, its limits and the manipulation it generates.

2009
The year begins with the staging of Le grand macabre, an opera by Ligeti, which took place at the Opera Theater of Brussels using a set shaped as a large human figure.


--HISTORIA

1979
La Fura inicia su andadura como grupo de animación de calle actuando en distintos pueblos y ciudades de Catalunya. Esta primera etapa duraría 5 años y en ella el grupo experimentó con muchos de los rasgos estéticos que luego constituirían su lenguaje.

1984
Accions se estrena en Barcelona, en el marco del Cicle de Teatre Obert. Accions, que se representó 118 veces en diferentes ciudades, ya proponía abiertamente los rasgos clave del lenguaje furero: interacción con el público, utilización de espacios insólitos y adaptación de la escena a las características de cada espacio. Con este espectáculo La Fura pasó a ser un grupo de culto en la escena teatral internacional.

1985
Tan sólo un año después del estreno de Accions la compañía presentó Suz/O/Suz, que suponía la segunda entrega de la Trilogía. Con este espectáculo La Fura cruza fronteras e inicia una gira internacional de más de 290 representaciones, la más larga que el grupo ha realizado en toda su historia. Suz/O/Suz dota a La Fura de una escenografía asociada y claramente identificable.

1988
La Trilogía se cierra con Tier Mon, quizás la más oscura y pesimista de todas las propuestas que La Fura había propuesto hasta ese momento. Si Suz/O/Suz reflexionaba sobre el hombre en abstracto a partir de la ritualización, Tier Mon se refería al poder, a los mecanismos de dominación a partir del alimento, la energía o la fe.

1990
Una vez cerrada la Triología, La Fura se abrió a la búsqueda de un lenguaje escenográfico más complejo y sofisticado. Tomando como punto de partida argumental la idea del Caos como fuente primigenia de a creación, en Noun se adoptaron recursos escenográficos tecnológicamente avanzados, en contraste con lo que había sido la producción de La Fura hasta ese momento.

1992
La búsqueda ha caracterizado desde sus origenes el trabajo de La Fura dels Baus. Con motivo de la celebración de los Juegos Olímpicos de Barcelona 1992, la compañía recibió el encargo de concebir y desarrollar un espectáculo para la ceremonia de apertura de la cita olímpica. Mediterráneo, mar olímpico fue la propuesta de La Fura dels Baus a un público de miles de millones de personas de todo el mundo. Desde este momento el grupo comienza a explorar las posibilidades de los espectáculos concebidos para un público masivo.

1994
La tentación de desarrollar un espectáculo sobre la manipulación se decantó en MTM, probablemente el espectáculo más “político” de La Fura. En MTM se combinaba el lenguaje furero, ya perfectamente consolidado, con una puesta en escena donde el vídeo y el juego de espejos propiciaban lecturas distintas de lo que se proponía como “cierto”. Las grandes innovaciones de MTM estaban relacionadas con el uso del lenguaje textual, una circunstancia inédita en espectáculos anteriores.

1996
En este año La Fura inició una metodología de trabajo distinta a la que había practicado hasta entonces: se desarrollaban distintos proyectos a la vez bajo la dirección de distintos miembros del grupo. Este cambio en los protocolos internos del grupo propició que en 1996 se desarrollara Pepsíclope, un macroespectáculo diseñado para la presentación de un producto comercial; Manes, un espectáculo de lenguaje furero que seguía la línea de Tier Mon o MTM, y La Atlántida, la primera puesta en escena de una ópera realizada hasta ese momento por el grupo.

1997
El acercamiento a la ópera que supuso La Atlántida, enriquecido con la colaboración de Jaume Plensa, tuvo continuidad en El martirio de san Sebastián. La obra de Debussy, cargada de símbolos y lecturas alternativas, encajó perfectamente con la estética del grupo y reafirmó la relación del grupo con la ópera.
También en 1997 La Fura desarrolló Simbiosis, un macroespectáculo itinerante que recorrió distintas ciudades europeas con motivo del lanzamiento de un nuevo modelo de automóvil.

1998
F@ust 3.0 y Ombra fueron los dos espectáculos que La Fura estrenó en 1998. El primero, F@ust 3.0, destaca por dos cuestiones: es el primer espectáculo del grupo relacionado con el mito de Fausto y, por añadidura, el primero que utilizaba un teatro a la italiana como escenario. La idea de Fausto, tan próxima al arte moderno y al hombre moderno, será el tema de algunos de los trabajos que La Fura realizará más adelante.
Ombra, el segundo de los trabajos de La Fura en este año, tuvo como hilo conductor la figura del poeta Federico García Lorca y acerco el trabajo del grupo a una fórmula más intimista, pero sin perder la fuerza que había caracterizado sus propuestas.

1999
El año que marcaba el paso del siglo y del milenio La Fura presentó tres espectáculos de formato e intenciones muy distintas. Furamòbil, el primero de ellos, retomaba parte de ideario furero demandando la participación del público para que una máquina-espectáculo se pusiera en movimiento.
La condenación de Fausto, la puesta en escena de la ópera de Berlioz, suponía la segunda aproximación del grupo a mito faústico y logró un éxito extraordinario en su presentación en el Festival de Salzburgo. Esta propuesta, desarrollada en colaboración con Jaume Plensa, supone la llegada a la madurez de La Fura dels Baus en su relación con lo operístico.
Para La Fura el siglo se cerró, nunca mejor dicho, con un macroespectáculo, L’home del mil·leni, que se realizó en el centro de Barcelona para celebrar el paso del año, del siglo y del milenio.

2000
Tomando como punto de partida un texto clásico incuestionable, Macbeth, La Fura desarrolló ØBS, un espectáculo de lenguaje furero que se caracterizaba no sólo por la adaptación de un tema conocido, también por la exploración de algunos recursos, como las imágenes en 3D y la preparación del proyecto mediante videoconferencia.
El otro gran proyecto de La Fura dels Baus en el 2000 fue DQ. Don Quijote en Barcelona, una ópera de nueva creación, con música de José Luis Turina y libreto de Justo Navarro, que se estrenó en el Teatro del Liceo de Barcelona y que recreaba un argumento futurista centrado en la figura del ingenioso hidalgo de la Mancha. El diseño de la escenografía corrió a cargo de Enric Miralles y Benedetta Tagliabue.

2001
De nuevo tres proyectos para un mismo año.
La navaja en el ojo, un macroespectáculo realizado en la Ciudad de las Artes y las Ciencias de Valencia con motivo de la Primera Bienal, contó con un público de más de 30.000 personas y recreó los siete pecados capitales a partir de una escenografía muy sofisticada.
Fausto 5.0, última parte de la trilogía faústica de La Fura dels Baus, es la primera película realizada íntegramente por el grupo, con la colaboración de Isidro Ortiz. La película, que obtuvo el Premio Melies a la mejor película europea de cine fantástico, cosechó un notable éxito de crítica y público.
Las Troyanas, el clásico de Eurípides que desde hace miles de años nos hace reflexionar en torno a la Guerra y sus consecuencias, fue el último de los proyectos que La Fura realizó en el 2009, en colaboración con la mítica Irene Papas.

2002
Un año especialmente fructífero en la trayectoría de la compañía. Se estrenaron cuatro proyectos en líneas de trabajo muy diferentes.
Sobre los acantilados de mármol, una ópera basada en la novela homónima de Ernst Jünger se estrenó, el 8 de marzo, y una representó en 12 ocasiones en el Nathionaltheater de Mannheim, con música de Giorgio Battistelli, textos de Giorgio Van Staten y puesta en escena de La Fura dels Baus.
Dos meses después, en el Teatro Guerra de Lorca de Murcia, se estrenaba XXX, una obra basada en La Filosofía en el tocador del marqués de Sade, que emprendería una extensa gira por distintos países de Europa y América. XXX revisitaba conceptos como sexualidad, pornografía o violencia a través de la mirada de La Fura dels Baus.
En junio, en la Piazza Pitti de Florencia y ante un público de miles de espectadores, se representó el macroespectáculo La Divina Comedia, una adaptación del clásico de Dante Aligheri creada especialmente con motivo de la celebración de Classico Italia.
Y, por último, apenas 20 días después, en el Teatro Massimo de Palermo se estrenaba la particular puesta en escena de La Fura dels Baus para La sinfonía fantástica de Hector Berlioz. Esta obra musical clave nunca antes había sido adaptada a la escena.

2003
El gran proyecto de este año fue la puesta en escena de La flauta mágica realizada, una vez más, en colaboración con Jaume Plensa, uno de lo artistas plásticos más relevantes del panorama artístico actual. Esta versión de La Fura dels Baus de una de las óperas más reconocidas y celebradas de todos los tiempos, explora los espacios del subconsciente tomando como referencia la abundante simbología que encierra la obra y que a sido objeto de reflexión y estudio desde que se representara por primera vez en 1791.

2004
La búsqueda de nuevos ámbitos para la escena que se adaptasen con solvencia a su trayectoria artística y estética, llevó a La Fura dels Baus a adquirir un antiguo barco carguero sobre el que debía de construirse el proyecto Naumon. El barco, acondicionado como escenario o como núcleo para espectáculos, ofrecía distintas posibilidades escenográficas y detonó una serie de espectáculos, de distintos formatos, centrados en la idea de viaje, de espacio escénico itinerante.

2005
Una obra de teatro “a la italiana”, Metamorfosis, recibió el elogio unánime de la crítica. Este espectáculo, que seguía el texto más representativo de Franz Kafka, proponía una reflexión sobre la soledad y la otredad, el reconocimiento del otro, del diferente.
Ese mismo año, con motivo de la celebración de los Juegos Mediterráneos en Almería, La Fura recibió el encargo de realizar la ceremonia de apertura. El resultado fue Al-mariyat Bayyana, un macroespectáculo que repasaba la historia de la ciudad organizadora a partir de una recreación de sus momentos clave.

2007
Las líneas de trabajo de la compañía se han diversificado al máximo. En este año la compañía realizó la ceremonia de inauguración del mundial de ciclismo en pista cubierta a partir de un macroespectáculo que simbolizaba la dinámica del deporte y la unión entre países; estrenó Imperium, un espectáculo de lenguaje furero que sigue en gira cuando se escriben estas líneas; representó el macro Cutty Sark Shangai-London en distintas ciudades españolas; y, por último, participó en el proyecto La hija del cielo, la primera ópera íntegramente canaria, por su temática y promotores. Igualmente en el año 2007 se estrenó en Valencia El oro del Rhin, la primera parte de la tetralogía El anillo de los Nibelungos de Richard Wagner.

2008
A la participación de La Fura dels Baus en las acciones Adeu a la tele (una exposición sobre el apagón analógico y la llegada de la TDT) y La ciudad inventada (un programa de espectáculos realizados en Logroño desde el punto de vista de la intervención en la ciudad). Se suman en este año el estreno de dos entregas más de la tetralogía El anillo de los Nibelungos, Sigfrido y Las Valquirias, y de la obra Boris Godunov, una arriesgada reflexión sobre el problema del terrorismo, sus límites y la manipulación que genera.

2009
El año arranca con la realización de la puesta en escena de Le grand macabre, una ópera de Ligeti, que se realizó en el Teatro de la Ópera de Bruselas a partir de una escenografía que imitaba a una gran figura humana.

La Fura dels Baus realiza por primera vez en España, durante el mes de junio, la puesta en escena de dos ciclos completo del El Anillo del Nibelungo, de Richard Wagner, con la representación de las cuatro óperas que integran esta tetralogía: "El oro del Rhin", "La Valquiria", "Sigfrido" y "El ocaso de los dioses".Una coproducción del Palau de les Arts de Valencia y el Maggio Musicale Fiorentino, con Zubin Mehta como director musical.

2010
La Fura aterriza en el único continente que le faltaba por descubrir. En Àfrica realiza la dirección artística de la apertura del Harare International Festival of the Arts (HIFA) en Zimbabwe. El macroespectáculo The Experience es el escogido para la apertura del Perth International Festival of Arts, Up - Flores Cósmicas cierra los IX Juegos Suramericanos de Medellin dentro del marco CULTURE FIT y Global Rheingold abre la capitalidad cultural de Duisburg en el naumon. La opera Tanhäuser se estrena en la Scalla di Milano, Le grand Macabre abre el Adelaide International Festival of Arts y Carmina Burana sigue recogiendo éxitos en su gira internacional. El lenguaje furero inicia su gira con Degustación de Titus Andronicus y con Origens, espectáculo de pequeño formato que conmemora los inicios de este particular lenguaje. En los escenarios se estrena Window of the City, único espectáculo permanente de la Exposición Universal de Shanghai.

2011
La Fura sigue siendo una de las compañías más innovadora en el mundo operístico: Sonntag aus Licht se representa en espacios diferentes dentro de la Oper Köln y cuenta con escenas en 3D. Quartett de Luca Francesconi es primicia mundial del Teatro alla Scala donde Susanna Mälkki se convierte en la primera mujer que dirige una orquesta en la ópera milanes. La Oresteïa de Iannis Xenakis se representará en plena calle, en la Karlsplatz de Viena. Degustación de Titus Andrónicus continúa con su gira internacional y es la obra escogida para la celebración del 25 aniversario del Mercat de les Flors. Los impactantes macroespectáculos de la compañía podrán ser vistos en Dubai, Seul, Reykjavic, Leucate y Portugal entre otros.

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