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poster

63

23

6.9

/172/

42

/8/

61

/13/

4.1

/1414/

Shot in Florence, the film draws on Leonardo da Vinci’s notebooks and Paul Valéry’s essay on da Vinci’s creative process to explore parallels between Renaissance space and the moving image. Beavers employs rapid pans and tilts along the city’s facades, interspersed with glimpses of his own face, linking camera movement to the filmmaker’s investigative gaze. The work marks a turning point in his practice, foregrounding presence and perception as central to his method. (Note: The film was re-edited and re-released in 1999.)

poster

72

18

6.9

/101/

80

/2/

64

/9/

3.8

/1186/

Filmed in Rome in the 1980s, the work draws on Borromini’s Baroque architecture and Il Sassetta’s St. Martin and the Beggar. Beavers contrasts winter’s subdued light with the verdant growth of spring, constructing a precise montage in which image and sound form a poetic dialogue.

poster

57

11

5.6

/118/

43

/8/

60

/11/

3.6

/492/

Interweaving stonework and filmmaking, Beavers evokes memory through hammer strokes and chisel sounds that shape both image and rhythm. In this dialogue of repetition and variation, the film carves out a space where emptiness itself gains form, allowing vision beyond sight.

poster

?

10

/1/

“A seed that floats in the air, a whirligig, a love charm. This magnificent landscape, both hot and dry, is far from sterile; rather, the heat and dryness produce a distinct type of life, seen in the perfect forms of the wild grass and seed pods, the herds of goats as well as in the naked figure. The torso, in itself, and more, the image which it creates in this light. The sounds of the shepherd’s signals and the flute’s phrase are heard. And the goats’ bells. Imagine the bell’s clapper moving from side to side with the goat’s movements like my quick side-to-side camera movements, which increase in pace and reach a vibrant ostinato.” (Robert Beavers).

poster

?

10

/1/

The film is seen as though upon and through the structure of its spiritual partitions. One might say that there are three elements or levels to the images: narrative, descriptive or analytic, and abstract. "The film is seen as though upon and through the structure of its spiritual partitions. One might say that there are three elements or levels to the images: narrative, descriptive or analytic, and abstract. The Count of Days is not an account so much as an accounting of the essence of the days in which three separate persons are related at points … a penetration through the masks and habits of these days to reveal the nature of the charade and the arena in which it is enacted." (Tom Chomont, Film Culture)

poster

?

6.6

/7/

20

/1/

80

/1/

“The title refers to the colonnades that led to the shady groves of the ancient Lyceum, here remembered in shots of industrial arcades, bathed in golden morning light, as quietly empty of human figures as Atget’s survey photos. The rest of the film presents luscious shots of a wooded stream and hazy glen, portrayed with the careful composition of 19th century landscape painting. An ineffable, unnameable immanence flows through the images of The Stoas, a kind of presence of the human soul expressed through the sympathetic absence of the human figure.” (Ed Halter, New York Press)

poster

?

10

/1/

An early exploration of intimacy and perception, the film portrays the body’s beauty and sexuality as animated by the soul. Through dissolving and vanishing images, Beavers creates a sensuous interplay of touch, memory, and after-image, leaving an imprint on both eye and mind.

poster

72

?

6.9

/13/

3.8

/347/

Filmed when Beavers was 18–19, this self-portrait depicts him and Gregory J. Markopoulos in their Swiss apartment. A diary of domestic life, it transforms everyday objects and intimate details into a charged meditation on love, memory, and desire.

poster

?

6.3

/8/

10

/1/

Landscape and desire. Details from the Greek island of Hydra, a figure, a study in light and place and the act of creation. The first half of the film explores delicate nuances of lighting, colour and depth as Beavers shoots the face of a young man in various locales on the Greek island of Hydra, using a variety of customized masks and filters. The man’s face remains constant throughout, surrounded by iconic elements in the landscape, like a pulsating Renaissance portrait. Still Light brings to mind any number of structuralist binarisms: youth and age, creation and criticism, action and reflection, living landscape and mummified text. (Ed Halter, New York Press).

poster

56

?

6.2

/9/

45

/2/

80

/1/

3.7

/207/

”Bracing in its simplicity, Work done was shot in Florence and the Alps, and celebrates an archaic Europe. Contemplating a stone vault cooled by blocks of ice or hand stitching of a massive tome or the frying of a local delicacy, Beavers considers human activities without dwelling on human protagonists. Like many of Beavers’ films, Work done is based on a series of textural transformative equivalences: the workshop and the field, the book and the forest, the mound of cobblestones and a distant mountain”. (J. Hoberman)

poster

56

?

6.8

/11/

40

/2/

60

/2/

3.8

/249/

Beavers distilled the 26-minute Sotiros in 1996 from an original 50-minute trilogy. Filmed in Athens and Peloponnesus in Greece as well as in Austria, much of Sotiros is structured around another binarism: two repeating intertitles marked "He said" and "he said." Each title introduces a set of visual phrases with loosely parallel camerawork. The images are careful and delicate studies of light patterns in a hotel suite and at a cafe, rolling hills populated by a lone shepherd, Eurostyle modernized storefronts, a blind man begging in the street. The film’s title refers to one of the appellations of the Apollo, in his role as savior or healer. - New York Press

poster

?

10

/1/

60

/1/

Shedding all traces of narrative in Plan of Brussels, Beavers filmed himself in a hotel room, both at his work desk and lying naked on the bed, while in rapid rhythmic cutting, and sometime in superimposition, the phantasmagoria of people he met in Brussels and images from the streets flood his mind. (P. Adams Sitney, Film Comment)

poster

?

10

/1/

“There is a balance between a sense of the past seen in the views of West Berlin, filmed in black & white, and a sense of the present in which I filmed myself showing how the colour is created by placing filters in the camera’s aperture. I searched for signs of war’s aftermath and a few moments of daily life.” - Robert Beavers

poster

?

10

/1/

In Palinode a disk-shaped matte continually shifting in and out of focus alternately blocks part of the image or contains it. Its respiratory rhythm matches operatic fragments of Wladimir Vogel’s Wagadu, as the camera studies a middle-aged male singer in Zurich, singing, eating, window shopping, and meeting a young girl. The filmmaker told himself, ‘Don’t let yourself know what that film is about while you are making it.’ (P. Adams Sitney, Film Comment).

poster

59

?

5.6

/84/

50

/5/

57

/9/

3.6

/471/

Cutting and sewing as metaphors. Central to this work is the complex emotions surrounding love, separation, and the metonymic twinning of objects, including that of edited images and saturated sound. “AMOR is an exquisite lyric, shot in Rome and at the natural theatre of Salzburg. The recurring sounds of cutting cloth, hands clapping, hammering, and tapping underline the associations of the montage of short camera movements, which bring together the making of a suit, the restoration of a building, and details of a figure, presumably Beavers himself, standing in the natural theatre in a new suit, making a series of hand movements and gestures. A handsomely designed Italian banknote suggests the aesthetic economy of the film: the tailoring, trimming, and chiselling point to the editing of the film itself.” (P. Adams Sitney, Film Comment).

poster

?

5.8

/50/

52

/4/

60

/4/

“Ruskin visits the sites of (art critic) John Ruskin’s work: London, the Alps and, above all, Venice, where the camera’s attention to masonry and the interaction of architecture and water mimics the author’s descriptive analysis of the ‘stones’ of the city. The sound of pages turning and the image of a book, Ruskin’s Unto This Last, forcibly reminds us that a poet’s perceptions and in this case his political economy, are preserved and reawakened through acts of reading and writing”. (P. Adams Sitney)

poster

?

10

/1/

Beavers intercuts scenes of traffic in Bern with details from the 15th-century altarpiece The Martyrdom of St. Hippolytus. In its revised form, the film gains a psychodramatic intensity, juxtaposing Markopoulos in shafts of light with a torn self-portrait and recurring shots of a shattered windowpane.

poster

?

“The details of the young actor’s face – his eyes, eyebrows, earlobe, chin, etc. – are set opposite the old buildings in the market quarter of Athens, where every street is named after a classic ancient Greek playwrite. In this setting of intense stillness, sometimes interrupted by sudden sounds and movements in the streets, he speaks a single word, “teleftea”, meaning the last (one), and as he repeats this word, it moves differently each time across his face and gains another sense from one scene to the next, suggesting the uncanny proximity of eroticism, the sacred and chance.” (Robert Beavers)

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