Greg Pope. live cinema/film/performance

TDTKs March 2017

DTKs March 19th

Takashi Ito : Japanese Extreme

ito


We are delighted to collaborate with Kunsthall Oslo to screen an hour-long progamme of films from Japanese extremist Takashi Ito.
If you loved the Matrix, Ring and Tetsuo but think they’d be even better without the dialogue and the plot, if you think Michael Snow’s Wavelength works better on fast forward, if what’s missing from your life is actual metaphysical terror, if you find violent camera movements inexplicably erotic, or if for some reason you just don’t like your brain the way it is, then we are pleased to invite you to this screening of selected key films by Takashi Ito, all but one of which are being shown in Norway for the very first time.

Dizziness
2001, 11min, 16mm
“In the final scene of my work A Silent Day, a girl was filming herself with an 8mm camera on a railway bridge. Although the film doesn’t depict the incident, she later jumped off the bridge in an attempt to kill herself. Two girls witnessed her attempted suicide, and in this film I am attempting to depict the broken state of their psyches. (Takashi Ito)

Zone
1995, 13min, 16mm
“A film about a man without a face, his arms and legs bound with ropes. This man, enwrapped in wild delusions, is also a reconstruction of myself. A series of scenes in this room that expresses what lies inside me.” (Takashi Ito)

Ghost
1984, 6min, 16mm
“I filmed this in the company dorm where I was living, in in the middle of the night after I had come home from work, and I thought I might die from what had become my daily pattern of sleeping for two hours in the morning then going off to work.” (Takashi Ito)

Drill
1983, 5min, 16mm
Drill initially recalls the strict structuralism of Michael Snow’s Back and Forth (1969), as the camera pans repeatedly across the lobby of Ito’s company dorm, but the shifts in perspective begin also to warp the space of the image.

Thunder
1982, 5min, 16mm
“We can think of this film as made based on the unified scheme produced by layering together a number of axes of semiotic systems” (Shiroyasu Suzuki)

Box
1982, 8mins, 16mm
“I was aiming at disturbing our awareness of space” (Takashi Ito)

Spacy
1981, 10mins, 16mm
Ito’s first and, perhaps, greatest film. Nietzsche wrote that when you look into the abyss, the abyss also looks into you. Ito proves it, using nothing but stop-motion images of a Japanese gymnasium.

This event is a collaboration between The Dream That Kicks and Kunsthall Oslo, and forms part of Kunsthall Oslo’s performance and film programme Soft City 2017. For more information see http://www.kunsthalloslo.no. Supported by Arts Council Norway.

Written by gregpope

February 22, 2017 at 9:11 am

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