Tuesday, December 5, 2017

Tempo Perdido no Oporto

Tempo perdido no Oporto
Exhibition of Oporto’s ephemera - Screening of Les Komas Peteux by Alain Baptizet- Printing session by Mike Goes West - The Red Mermaid by Gonçalo Pena  - Communal meal with João Simões

Built by a former merchant sailor union, this small theatre has been kept in its original state as a moored ship with the smell of bilge, covered with maritime murals, wooden decks, ring buoys and secret passageways. But now and then, it becomes a safe ‘port’ for night sessions of experimental films and videos, small exhibitions and occult meetings. 

Since 2007, the Oporto sessions have built up a loyal group of hardcore fans, followers of a continuum of indigestible art pieces, eccentricities and anachronisms that require a reckless taste for discomfort.  

For the programme to exist with its erratic consistency there was always a restricted group of people who lost their time at Oporto. Rather than turning it into a “cante jondo” venue to solve our financial and ideological problems, we decided to celebrate the work done by our companions to structure each séance.

On Sunday, December 10th at 20pm, we will be exhibiting graphic material from every Oporto session, from the awarded posters to the collectable flyers and publications. In the Oporto tradition, we will screen a documentary previously planned for an Occult session, that was lost in the mail. Once more by popular demand a new commemorative poster will be screen printed. We will also present a new mural to replace one unfortunately lost 14 years ago. Finally, we will drown ourselves in food and wine.

Oporto's entrance: Calçada  Salvador Correia de Sá 42, 2º F Lisboa

Thursday, October 19, 2017

Oporto apresenta #47

The Vinegar Syndrome
Three contaminated films by Ed Emshwiller

- Totem (16mm cellulose acetate film, color, sound, 16’, 1963) 
- Chrysalis (16mm cellulose acetate film, color, sound, 22’, 1973)
- A Film With Three Dancers (16mm cellulose acetate film, color, sound, 19’, 1971)

To date, there is no serious study of the origin of William S. Burroughs' decaying voice. One might think that his monochordic tone was due to a risky life of rampant drug abuse and bad alcohol. But if we listen carefully, we can find the cause of this abnormal tone in his own words. 

For years, Burroughs argued that language is an opportunistic virus that comes from outer space, which inhabits the human larynx and controls all actions of the subject. The more we hear the strange flow of Burroughs’ hypnotic voice spreading his sour humour, the more it is evident that he is infected by a hedonistic being, lodged in his deep throat, melted into his vocal chords, forcing him to live under alien desire.

Acetate films are also subject to extraneous contamination. The first reports on this life form that feeds on images came in 1948 from the National Archives of India, and since then there has been a worldwide struggle to contain this epidemic. The first symptom of infection is a strong smell of vinegar, as the film releases acetic acid when under attack. Then the acid eats away the color, initiating an irreversible process of decay that ends in the complete vanish of the image.
Recently, Oporto acquired three films by the iconic filmmaker and Science Fiction illustrator Ed Emshwiller (also known as Emsh). Unfortunately, they all suffer from Vinegar Syndrome. Knowing that the deterioration process is fast and cannot be reversed, we will screen the reels before insulation in a cold film archive. To prevent further contamination, the projector will be cleaned and disinfected after the session.

On Mother- Vinagre and its offspring æ

Saturday,  Oct 21, 10.30 pm
Oporto entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

While Darwin Sleeps / Circle of Light 06/10/2017

Tuesday, October 3, 2017

Oporto apresenta #46

While Darwin Sleeps  by Paul Bush
35 mm film transfered to digital sd file , color, stereo sound, 5', 2004 

Circle of Light
Soundtrack by Delia Derbyshire and  Elsa Stansfield for Pamela  Bone's 35 mm diaporama, (prod. Anthony Roland) color, stereo sound 32' 1972

"One day, on tearing off some old bark, I saw two rare beetles, and seized one in each hand; then I saw a third and new kind, which I could not bear to lose, so that I popped the one which I held in my right hand into my mouth. Alas! it ejected some intensely acrid fluid, which burnt my tongue so that I was forced to spit the beetle out, which was lost, as was the third one."    Charles Darwin

According to Money Mark, the famous keyboard repairman, there is a strong correlation between the sound of the crickets and room temperature. In the song, Insects are all around us, he demonstrates  that the singing rhythm of insects can be a mathematical indicator of the thermal variations of nature.
Delia Derbyshire was an electronic creator whose artificial music was a constant presence on the BBC in the sixties. After creating the futuristic sound effects for Doctor Who, setting a new sound for TV, she ventured into the open fields to make her first direct recordings. Circle of Light sums up years of research. In this soundtrack, which was originally played with Pamela Bone's multiple photo exposures, nature was captured and framed according to Delia's electronic keyboard weaving a unified artificial ecosystem. 
Paul Bush's film While Darwin Sleeps follows Darwin's fixation by beetles that was somehow the starting point of his quest for a unifying principle in Nature. This film describes an important collection of entomology showed at an above human speed. The animation reveals an ontological "meta-bug" that transmutes according to a creative algorithm.

On Friday October the 6,  the last warm night of Summer we will be exposed to the mathematical laws of the planet while listening to the acoustic  frequencies spoken by geometrical insects, birds, and arithmetical keyboards and knobs .

Friday,  Oct 6, 10.30 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Friday, June 16, 2017

Oporto apresenta #45

Japon Series  by Cécile Fontaine
16 mm film, color, separate sound, 7', 1991

The dumpster left by World World War II created the right environment to awaken new radical forms of art. At the edge of any convention appeared the Butoh dance, a minimal “dance of darkness” rooted in primordial and prelinguistic impulses. After the war the dancer's body ceased to be a well-tuned machine to become a resilient matter continuously responding to slow electric waves.
After redefining and subverting the conventional notions of dance, breaking all types of taboos in post-traumatic Japan, these “technician of the nervous system” migrated to France in search of a new source of unbounded energy known to be shared by newborns and poets. The bald masters of Butoh were now followers of a continuous cry started by Lautréamont, Artaud, Genet and, above all, Sade.
Around the 1980s, shots of an unknown documentary on “Sankai Juku" dance troupe were found in a garbage bin in Paris. These shots have become the core of one of Butoh's most extraordinary documents, the foun
d footage masterpiece “Japon Series”. This ultra vivid film was created by Cécile Fontaine by manipulating the 16 mm with scotch tape, a needle and a painter's knife, scratching and scraping the emulsion to reveal hidden colors in intense painterly compositions.
“fearsome technicians of the nervous system” (wikipedia)

Sunday,  June 18, 11 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Monday, February 6, 2017

Tempo Perdido no Porto #3 - Miguel Soares

It was in 1998, during the Siggraph Symposium, that Paul Debevec introduced a method for integrating synthetic objects into “real-world” images. In his communication, Debevec revealed the secret of extracting light from any environment and rendering objects into this light. This simple method used a mirrored ball placed in the center of a space, which was photographed in a high dynamic range of light (HDR). By combining the resulting multiple-exposure images, Debevec created a single concave image, which functioned as an omnidirectional radiation map of the space. The HDR contained all necessary data to merge any alien object into a pre-existing background.

Today we can see a good amount of HDR images on the Internet, as empty scenarios longing for objects. In 2008, Miguel Soares used an HDR image of a Japanese interior as a starting point for his 3D animation wabane. Here the artist brilliantly inverted Paul Debevec's process and, instead of inserting a common object in the light of an HDR scenario, he places in it a floating moving mirror, that changes its shape according to sound. wabane presents a shining post-apocalyptic living mirror that reflects, in its ever-changing curved surface, the void of an abandoned room.

After a residency period in Oporto, Miguel Soares will finally give us the opportunity of seeing his HDR masterpiece projected, by far the video that best fits Oporto's dimmed/doomed atmosphere. Along with wabane we will also be exhibiting white starscience fair and his latest video, naso. This selection of very short animations, or videos from a music album, as Soares refers to them, reveal carefully designed landscapes, digital terrariums optimized for the study of unknown creatures and things, entities that live and die to the laws of sound and nostalgia.

Opening: Sat, Feb 11, 10.00 pm  

Open one week by appointment

Oporto entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Tuesday, January 24, 2017

Oporto apresenta #44

Ritual of the Fall by Kathy Rose
HD color video, stereo sound, 4'26", 2015

It is known that a small cut done underneath a corvid 's tongue will allow it to speak. It is also said that if one sews the tongue of a human, s/he will gain feathers and learn to fly. During the process of transmogrification a dance is revealed as a secret language only known to the greatest magicians. Merely a few have had the opportunity to see these supernatural creatures but, according to legend, their mute presence echoes the light of paradise. 
Kathy Rose's  training in classic animation and butoh dance gave her unlimited power to animate and transmute. For the last forty years, Rose has been using video and film as an extended medium  to attain metamorphosis.  In Ritual of the Fall she leads us to the limits of a seclude territory, to observe docile creatures, half-human birds, perform a magical dance. This exuberant video-collage with its original tempo is a reflection upon flying as a musical language.

"a meditation on simple living in a surreal environment"
Alexandre Estrela

Friday,  Jan  27, 10.30 pm
Oporto's new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Wednesday, November 9, 2016

Oporto apresenta #43

AhAh - Raw Sex by Adam K Beckett
Flip book transfered to digital, color, silent, loop

TV was the medium chosen by Samuel Beckett to launch his puzzling play QUAD. The video shows four squalid asexual mimes dragging their feet over the flat surface of a tiny square, all following in perpetual motion an undercurrent geometry .
It was by analysing this video and the behavior of its powerless guinea pigs, that Gilles Deleuze wrote his fundamental essay on exhaustion in which he launched the idea of ​​a new language. The Lingua III, as described by the philosopher, is "a language of empty spaces and pure images", characterized by a scenario in which everything is composed and decomposed.

If S. Beckett's Quad creates a new language while depleting the performance of its impotent characters of any sense, Adam K. Beckett's animations focus on the language itself as an autonomous entity. Zooming in the private life of words, K. Beckett draws "a perpetual coming together and falling asunder of forms". It is in the flickering blank pages of the flip-book, that this unique, gifted and truly brilliant animator reveals a psychedelic fertile world where letters freely intertwine, or better saying, intercourse in closed loops, behaving as bacteria in perpetual orgy. We are deeply grateful to IOTA center for the screening of two of Adam Beckett's lascivious flip-books, that were carefully transferred to video and preserved by his close friends after his premature death.

Cyclone of the absent sense.
Alexandre Estrela

Saturday,  Nov 12, 10.30 pm
Oporto's new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Monday, May 16, 2016

Oporto apresenta #42

Nada by Maurice Lemaître 
16mm print, b&w, silent, 3' 1978

There is a long tradition of black abstractions in  Western art. Outbursting at a regular rhythm, its presence is by no means arbitrary. The black work of art is a necessary intermission, an unreasonable void arising from an inner urge or from society's need for regeneration. Framed by writing, film, painting or drawing the monolithic autonomous black returns, as in Kubrick's 2001, to change the course of evolution. The 16 mm film Nada, made in 1978 by the living legend Maurice Lemaître, belongs to this long genealogy of works that can be traced back to Robert Fludd's black page in the hermetic treatise Utriusque Cosmi (1617), Paul Bilhaud's painting Combat de Nègres dans un Tunnel (1882), Malevich infamous Black Square (1915), Man Ray's black photograph Ma Dernière Photographie (1929) or Dick Higgins Black Mirror (1959). Claimed by the author as the first film with no sound or image, Nada will be screened at Oporto as a three minute experience with the black void and the concrete power of its nothingness.

Once you had the first luxuriant taste of Nothing, Nothing else will do.   æ

Friday,  May  20, 11 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Thursday, April 21, 2016

Oporto apresenta #41

You The Better by Ericka Beckman
16mm print, color, sound, 30', 1983

According to the futuristic film Rollerball (Norman Jewison, 1975), in two years the world will be transformed in a global corporate state. In this near future, wars will no longer exist as they will be replaced by a violent futuristic sport named rollerball, a fusion between vale tudo, basketball, skateboard, hockey and drag racing. The fully armed players, or rather gladiators, circle around an arena fighting for a metal ball, struggling to annihilate the others by all means. Rollerball teams are named after the cities in which they are based and represent global corporations. In the film one player fights for his personal freedom threatening the corporate control.
     In 1983, a group of American artists met in a sports court to play You the Better, a game invented by Ericka Beckman. The game was a distilled version of all-americana games, a mix between softball, basketball, bowling, arcade video games and casino gambling. In this Rollerball-like scenario, with colorful props and boyish work uniforms, a team led by the artist Ashley Bickerton struggles to win against an almighty oppressive "House", which stands to remind you of the futility of individual effort against the corporate world. In this "allegory of suburban conformity versus free will", the players are cheered by repetitive a cappella slogans that keep their spirits high, but as the game evolves they find themselves trapped in the surreal plot of a relentless game.
     On the evening of the 25th of April, Oporto celebrates the 1974 Portuguese revolution with the screening of You the Better. You are welcome to join us to watch the game and, who knows, help the players burn the House and its dices. At the end of the session, if odds are favourable, we'll present Maurice Lemaître's Montage (1976), setting our screen on fire.

Un coup d’état jamais n'abolira le hasard.

Monday,  April  25, 10.30 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon


Monday, April 4, 2016

Oporto apresenta #40

Complementary Cubes by Manfred Mohr 
16 mm computer generated film b/w, 5'12'', 1973-74

Who would imagine the string figures of the "cat's cradle" game to be the first steps of a lost and highly complex universal language. Across the globe different people, such as the Makushis from Guyana, the Yoruba from Nigeria, the Torres Strait islanders or the Navajo Indians from Southwest United States, used a loop of string stretched between digits as a mnemonic device for storytelling. String games could tell elaborate stories following complex algorithms that only few had the extensive knowledge to read and to calculate new variations. With the fall of oral tradition, string games disappeared loosing its function and meaning. Nowadays the game is studied by ethno-mathematicians as an example of a fundamental mathematical language that once reached a global level, what was perhaps a predecessor of today's digital language. "Complementary Cubes" programmed by Manfred Mohr in the early Seventies, is a prime example of a computer generated art. The piece can be described as Mohr's mathematical syllabus, the foundation of a digital universal language that the artist has been unveiling and expanding until today. In the film two geometric linear figures rotate in a code driven complimentary dance. As the animation evolves the two separate drawings are perceived as being complementary parts of a single stereoscopic figure.

"A square dance for a  stereo cube"
Alexandre Estrela

Friday  April  8, 10.30 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Monday, February 8, 2016

Oporto apresenta # 39

Roda Lume Fogo by E. M. de Melo e Castro
U-matic video transferred to dvd, b/w, sound 2'43'', 1986

In 1962, The Times Literary Supplement published a text by the experimental poet and textile engineer Ernesto de Melo e Castro. The article focused on the most innovative word experiments that were being made on the other side of the Atlantic. For poets such as Dom Sylvester Houédard and Ian Hamilton Finlay this was the first contact with the Brazilian avant-garde and its concrete poetry movement, but above all it provided much needed motivation for the formation of a germane branch in the UK.
Seven years later our textile engineer and renown experimental poet took a second radical step towards the dissemination of concrete poetry in Europe. When invited onto a poetry show on Portuguese national television, Melo e Castro used the occasion to release what is considered the first video-poem. Roda Lume, which loosely translates as "Wheel of Fire", “Circle of Light” or “Spin Flame”, was a short animation, depicting a synchronised succession of geometric lines, words and improvised vocalisations towards a new "liberated syntax".  
In 1969, two million monitors hosted Roda Lume as a stage for an embryonic language in continuous mutation. The broadcast poem appeared as a UFO, invisible to the fascist censorship radars that allowed its transmission unaware that it contained a transversal radicalness; the video acted as a wheel of fire against social and artistic conformism, and in this context as a call for a later revolution. Unfortunately Roda Lume was lost or might even have been destroyed by that same national TV station. In 1986, Melo e Castro attempted to reconstruct the poem based on photograms and a precise score. The version presented at Oporto is Roda Lume Fogo, in which the poet added the word "Fire" to the title to distinguish it from the original.
"Sator Arepo Tenet Opera Rotas"  anonymous roman poet
Saturday  February  13, 10.30 pm
Oporto new entrance: Calçada Salvador Correia de Sá 42 , 2F, Lisbon

Wednesday, October 7, 2015

Oporto apresenta #38

Black Video 1 Projections 
by Aldo Tambellini
Video 1/2'' transferred to DVD, b&w, sound, 18', 1966

To date, few artists have used film as an effective political weapon. For over four decades, Aldo Tambellini's Black Films stood as a flag against segregation and injustice. In the sixties, while his films such as Black Plus X or Black TV were traded as ammunition between leftist groups, he began manipulating the  cathode ray tubes of TVs in a most unorthodox fashion.
It is with caution that Oporto takes up the task of projecting one of these video works. We will present it big and loud, so powerfully that no brain will be indifferent to the energy bursting from it. This Black projection will transform our beamer-machine into that much needed weapon which kills fascists. 

"A continuous flame purifying the metal of social vision."
Askia Touré

Friday October 9, 10.30pm

Saturday, February 28, 2015

Oporto apresenta #37

Calculated Movements  
by Larry Cuba

16mm film, b&w, sound, 6', 1985. 

Back in the sixties when computers were about to make their colossal breakthrough in the territory of art, Henry Flynt coined the term concept art for a new art-form based in mathematics. For digital pioneers such as Stan Vanderbeek, John Whitney or Larry Cuba, the computer was "the supreme mathematical instrument", a new media meant to trigger aesthetic intuitions. Tonight we will present what could be considered a pure form of conceptual work (by Henry Flynt's standards). We are screening the 80's digital masterpiece Calculated Movements, a vectorial animation created by Larry Cuba while programming the wireframe structure for the infamous Star Wars' Death Star.

"A nursery for emergent concepts."
Alexandre Estrela

Friday March 6, 10.30pm

Tuesday, February 3, 2015

Tempo perdido no porto #2

Tempo perdido no porto #2
Pedro Henriques

Friday, Feb 13, 10.00 pm

In 1933  the prominent union leader M. A. Santos, takes refuge in a merchant sailor's union, currently Oporto, to escape the fascist police. In return for the generosity of his companions, who sheltered him for an extended time, Santos covered the hall with murals depicting mythological figures, boats anchored in the harbour and shipwrecks in the Tagus delta.
After a one year residency at Oporto, it is now time for Pedro Henriques to generously share with us the work he conceived here. On friday February 13, Henriques will present a sculpture exhibition that mirrors the time lost in this space.