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poster

35

9

3.1

/270/

29

/13/

26

/19/

2.8

/624/

This film consists entirely of close ups of famous persons' bottoms. Ono meant it to encourage a dialogue for world peace.

poster

37

7

3.8

/129/

20

/9/

33

/10/

2.9

/531/

A 16 mm film, featuring Yoko Ono's own eye slowly blinking, shot by Peter Moore with a high-speed camera at 2,000 frames per second, which is projected at normal speed, 24 frames per second, thus creating a slow-motion effect.

poster

?

4.1

/22/

16

/3/

43

/3/

Lifting and holding up a chest of drawers.

poster

?

4.9

/21/

45

/6/

60

/5/

"Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall."

poster

?

4.2

/23/

15

/2/

45

/4/

Seeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.

poster

?

5.6

/21/

20

/2/

50

/3/

Tips of feet walking at the edge of frame, all around the frame.

poster

58

?

6.1

/116/

40

/4/

65

/8/

3.4

/372/

Single frame exposures of words.

poster

?

5.5

/26/

26

/3/

50

/3/

Face going out of focus by layering sheets of plastic between camera and subject.

poster

46

?

5.4

/59/

10

/3/

60

/7/

3.1

/341/

Single frame exposures of dot-screens.

poster

55

?

5.7

/49/

41

/5/

65

/4/

3.1

/204/

Each film frame is a different image from the Sears Roebuck mail order catalogue. The film places pictures of the objects sold by Sears to the consumer society side by side with pictures of female models

poster

53

?

5.6

/58/

25

/4/

68

/5/

3.1

/423/

Various gestures of hand held razorblade, single frame exposures.

poster

?

4.9

/22/

36

/3/

50

/3/

Close-ups of two faces, shouting at each other.

poster

?

4.6

/23/

20

/3/

58

/4/

Color test strip from developing tank.

poster

?

5.1

/32/

10

/2/

48

/6/

Single frame exposures, color. Different image each frame, various items in the room, etc.

poster

47

?

5.8

/42/

10

/1/

57

/3/

3.1

/204/

Artype patterns, intended for loops. Benday dot patterns. Dots, lines. Screens, wavy lines, parallel lines, etc. on clear film. No camera.

poster

?

4.7

/25/

33

/3/

45

/4/

A handful of rocks and chestnuts falling, filmed with high speed camera.

poster

?

4.8

/24/

43

/3/

43

/3/

Features entrance and exit door signs, fading through black and white.

poster

?

5.2

/22/

43

/3/

50

/3/

X-ray sequence of mouth and throat; eating, salivating, speaking.

poster

?

5.6

/22/

35

/2/

59

/6/

Begins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso.

poster

46

?

4.2

/54/

32

/4/

56

/8/

2.8

/413/

Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10

poster

?

5.3

/38/

40

/2/

50

/3/

A smile gradually fades into a neutral facial expression.

poster

?

4.6

/30/

35

/2/

50

/4/

Flicker: White and black alternating frames.

poster

44

?

5.1

/44/

30

/3/

58

/4/

3.0

/245/

Word & number gag, no camera.

poster

?

4.8

/33/

27

/4/

60

/4/

"INVOCATION is Higgins' Satie movie... the purest attempt to clear art from any or all historical, esthetic, thematic, ornamental claptrap to regain the lost-eye consciousness." - Jonas Mekas

poster

?

50

/1/

Mary Bauermeister is considered the mother of the Fluxus movement. In an attic on Cologne's Lintgasse, she made art history in the early 1960s alongside personalities such as Karlheinz Stockhausen and Nam June Paik. Today, at the age of 85, she has no intention of stopping. From morning till night, this extraordinary artist works in her studio near Cologne: a magical place.

poster

?

5.1

/19/

35

/2/

50

/3/

Sitting on a promenade in nice with a sign: Watch me, that’s all.

poster

53

?

5.1

/59/

40

/2/

54

/5/

3.3

/369/

In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. This a film which depicts only its own material qualities; An "anti-film", meant to encourage viewers to focus on the lack of concrete images.

poster

61

?

6.0

/54/

52

/7/

57

/3/

3.3

/258/

"Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: 'silence, genius at work' and 'ich liebe dich.' The end credit is 'Television décollage, Cologne, 1963."

poster

43

?

4.3

/141/

37

/10/

49

/14/

Shot at 2,000 frames per second, this short shows a man exhaling smoke in incredibly slow motion.

poster

?

100

/1/

This feature-length documentary chronicles the life and playful methods of Dutch pianist and composer Misha Mengelberg, a significant figure in post-WWII European Jazz and free improvisation. Archival footage, rehearsal / performance sequences and interviews with both Mengelberg (the "godfather of Dutch improvised music") and key collaborators provide a clear insight in Mengelberg's original way of thinking and way of working.

poster

42

?

4.8

/43/

10

/2/

52

/5/

3.0

/250/

Following a series of title cards, a man in sunglasses briefly flutters his hands like fairy. Owen Land states that this film was not made by George Landow, and believes it should be credited to John Cavanaugh. "George Maciunas had a number of films which didn’t have titles on them. Then he put them together into his Fluxus reel and tried to remember who made them. It was an intentional Fluxus joke." (Owen Land, interview with Mark Webber, 2004)

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