Wednesday, May 28, 2014 8TH BERLIN BIENN

Wednesday, May 28, 2014

Exhibition: May 29 – Aug. 03, 2014
Opening Reception: Wednesday, May 28; 7-10pm
At all Berlin Biennale venues (Click here for map)

“Showcase Part One: A Romance of Time” – GRAHAM HAUGHT
Opening Reception: Wednesday, May 28; 8-10pm
Mehringplatz 11 (Click here for map)

See more Wednesday events

Thursday, May 29, 2014

“Berlin Documentary Forum 3- new practices across disciplines” – GROUP SHOW
Forum program: May 29 – Jun. 01, 2014
Opening Reception: Thursday, May 29; 6pm
John-Foster-Dulles-Allee 10 (click here for map)

See more Thursday events

Friday, May 30, 2014

“Anatomical Orchestra” – EVA KOTÁTKOVÁ
Exhibition: May 31 – Jul. 20, 2014
Opening Reception: Friday, May 30; 8-10pm
Oberwallstraße 1 (Click here for map)

Exhibition: May 29 – Jun. 28, 2014
Opening Reception: Friday, May 30
Grossbereenstraße 34 (Click here for map)

See more Friday events

Saturday, May 31, 2014

Saturday, May 31; 6pm
Potsdamer Straße 98 (click here for map)

See more Saturday events

Sunday, Jun 01, 2014

“Pandamonium: Media Art from Shanghai” – GROUP SHOW
Finissage: Sunday, Jun. 01; 4pm
Kunstquartier Bethanien, Mariannenplatz 2 (click here for map)

In 1978, a small Montreal audience witne

In 1978, a small Montreal audience witnessed Jean-Luc Godard improvise a lucid and provocative philosophy and history of the moving image. Over the course of fourteen talks accompanied by 35mm films screened in juxtaposed fragments – anticipating the method of his video essay Histoire(s) du cinéma – Godard set out the guiding principles of an original history of cinema he proposed to ‘make’ in images. Paradoxically, perhaps, the written record of these talks, now available for the first time in English in a complete re-transcription quite unlike the original French edition, is every bit as compelling as the later videos.

The Montreal film scholar Timothy Barnard has spent seven years preparing this new edition in English, correcting thousands of errors and omissions in the French and foreign-language editions. It includes 150,000 words from Godard’s talks, including his discussions with his interlocutors, which were excised from all previous French editions and translations; a 20,000-word essay by film scholar Michael Witt on Godard as film historian and the genesis of his film history project; a 20-page collage prospectus in Godard’s hand for the video series; and 60 full-page illustrations – film stills manipulated by Godard for the original French edition and seen here in their full high-contrast glory unlike those found in any other edition thanks to a special printing process.

Introduction to a True History of Cinema and Television has just been published by Montreal publisher caboose in a handsome, affordable edition numbering 560 pages. A sample chapter of the new translation can be read on the publisher’s web site.

caboose is also giving away with each on-line purchase a volume in its new series of essays, Kino-Agora. Five titles are now in print: The Kinematic Turn: Film in the Digital Era and its Ten Problems by André Gaudreault and Philippe Marion; Dead and Alive: The Body as Cinematic Thing by Lesley Stern; Montage by Jacques Aumont; Mise en Jeu and Mise en Geste by Sergei Eisenstein; and The Life of the Author by Sarah Kozloff. Additional volumes from the series may be purchased for $5 ($8 for the Eisenstein). The first half of Timothy Barnard’s work in progress volume in the Kino-Agora series, on cinematic découpage, can be read free of charge on the caboose web site.

What is proper is not detached from what

What is proper is not detached from what is there and does not levitate above analogous to a spectre. It grows out of it and appears from its complexity, a life appearing out of the complexity of inorganic matter, a consciousness appearing out of the complexity of organic matter. The archive that will appear out of the many will be a result of the complexity of being. So it is with archives to date: not a terrible wrong, but a terrible order of wrongs.