Monday, September 19, 2011

Projector performance artist Bruce McClure coming to the Cinematheque

[Press Release from the Cleveland Cinematheque.]
Bruce McClure, a Brooklyn, New York moving image magician who forges stunning works of light and sound from a motley assortment of specially-modified 16mm projectors, film loops, transformers, and guitar effects pedals, will make his first Cleveland appearance with two live performances on Tuesday, September 27 at the Cleveland Institute of Art Cinematheque, 11141 East Boulevard in University Circle.

The two performances, representing the two major strains in McClure’s work (basically “representational” and “abstract”), include ARE WE FAIRLY REPRESENTED? at 7:00 pm and THIS DOES NOT ACCORD WITH MY EXPERIENCE at 8:30 pm. Both will take place in CIA’s Russell B. Aitken Auditorium. Admission to either performance is $9; Cinematheque members $7; ages 25 & under $5. Attendees can see the second performance for an additional $5.

McClure’s movie-projector performances have wowed audiences at major film venues and art museums around the world—from the New York, Rotterdam, and Toronto International Film Festivals to the Walker Art Center, the Wexner Center, and two Whitney Biennials. McClure runs film loops of alternating black and clear frames (and some representational footage) through multiple modified projectors that he manipulates by hand. By adding color gels, metal plates in the projector’s shoe assembly, guitar effects pedals, a mixer, and loudspeakers, he constructs an immersive environment of pulsating light formations that throb and flicker to a minimal percussive beat. Though McClure is more of a conjurer or “projector player” than a filmmaker (he writes that his “projection performances transfix film in headlights, flatten it and leave it behind as roadkill”), he nevertheless uses the archaic technology of motion pictures to create a new, overwhelming kind of sensory, sculptural “cinema.”

ARE WE FAIRLY REPRESENTED? consists of “Insecure of Footing Their Beaks Are Too Soft To Inflict a Wound” from McClure’s 2008-10 series “Pie Pellicane Jesu Domine.” In the show, according to the artist, “Tableaus of bird behavior are served up to the analytic prowess of the projector as dimorphic sandwiches consisting of a camera shot of pelican activity bi-packed with pounding light pistons of base and emulsion.” (His complete description can be found at http://www.cia.edu/cinematheque_info_current/#5746.)

In THIS DOES NOT ACCORD WITH MY EXPERIENCE, McClure says that he “examines Kant’s analytic proposition that ‘all bachelors are unhappy,’ subjecting it to my own model for a synthetic critique of pure reason. Patterned loops of base frames (translucent) and emulsion (murky) are wed as unnatural figures—superimpositions before the eye of a projector gate and the ear of optical sound—before the couple is pilloried before an assembly of nerve endings.” (His complete description is at http://www.cia.edu/cinematheque_info_current/#5747.)

For further information, call (216) 421-7450 or e-mail cinema@cia.edu.

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