Chrysalis Fellow Nazli Dinçel screens her film Solitary Acts #4 with MCFF alumni VALIE EXPORT, Barbara Hammer and British artist Sarah Pucill February 27, 2020 in Madrid at Cine Estudio, Círculo de Bellas Artes, as part of programming at LAV (Laboratorio AudioVisual de Creación Y Practica Contemporánea).
Syntagma- Valie Export (1983)
Milk and glass- Sarah Pucill (1993)
No No Nooky t.v – Barbara Hammer (1987)
Solitary Acts #4 – Nazli Dinçel (2015)
Nazlı Dinçel (Turkey / USA) is a first-generation immigrant born in Ankara, Turkey. She studied at the University of Wisconsin-Milwaukee. Her films have screened at museums, festivals, and micro-cinemas around the world, including the MoMA and MoMI (NY), IFF Rotterdam, MuMok (Vienna), BAFICI (Buenos Aires), Hong Kong IFF, etc. Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation, and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language, and sound imitates the failure of memory and her own displacement within a western society. She is recipient of The Helen Hill Award from the Orphan Film Symposium, Ann Arbor Film Festival’s Eileen Maitland Award, a Mary L. Nohl Fund Fellowship (2018), and is currently a 2019–2020 Radcliffe Institute Fellow at Harvard University. She lives in Milwaukee, Wisconsin.
Dinçel’s films are rooted in the body, charting her and her lovers’ flesh across experiences of desire and dislocation. Hand-making her films—scratching, sewing, hammering, letter-punching, and typewriting all figure into the process—allows the artist to manifest intensely private subject matter in an equally physical cinematic object. Moments of carnal sublimation or self-pleasure, breakdowns of communication, and the lyrical textures of bodies in the spaces they inhabit all contribute to Dinçel’s self-described “female polemic against representations of the body.” Her work also gestures toward her upbringing in Turkey, from which she emigrated on her own as a teenager; the films’ painstaking construction evokes traditions such as rug-making, while their themes signal an urgency of self-expression without shame or reductive notions of gender. Reminiscent of Carolee Schneemann and Kathy Acker but articulated through a contemporary critical voice that is uniquely her own, Dinçel’s films are knowing, vital anthems about empowerment through art. – MoMA
REPLIEGUES Y DESPLIEGUES DEL CUERPO
SCREENING LAV #02
27 de febrero, 20:00
Cine Estudio, Círculo de Bellas Artes.
“Mientras que las mujeres hemos sido objeto de representación desde el inicio de los tiempos, nuestra participación como creadoras de nuestras propias representaciones ha sido fuertemente negada e invisibilizada. Y, en este sentido, el campo de lo cinematográfico no ha sido la excepción. La entrada de las mujeres en la historia del arte en general, y del cine en particular, ha sido a través de la figura cuerpo/objeto donde hemos sido representadas infinitas veces con una cierta apariencia, codificadas para producir impacto visual y erótico. Sin embargo, y a pesar de que nos sigue siendo difícil ingresar a la Historia (con mayúscula), con la llegada de la segunda ola feminista en los años ‘60 se abrió una importante grieta por la que comenzaron a colarse – en este mar interminable de representaciones hegemónicas y patriarcales – imágenes, discursos, textos fílmicos que cuestionaban esta fórmula de representación unilateral y unidimensional.(…)”
La sesión contará con la proyeción en 16mm de películas de Valie Export, Barbara Hammer, Sarah Pucill y Nazlı Dinçel.
Comisariada por Victoria Oliver Farner, Alejandro Iturra, Francisca Sáez Agusto y Anyela Button.
