BRUCE MCCLURE / AAVE 2013

Festivaalimme päävieras on brooklynilainen kokeellinen elokuvantekijä Bruce McClure, liikkuvan kuvan maagikko, joka luo hätkähdyttäviä valo- ja ääniperformansseja tuunatuilla 16mm-projektoreillaan, muuntaajillaan, filmiloopeillaan ja kitaraefektipedaaleillaan. McClure manipuloi projektoreitaan, valoja ja ääniä livenä muusikon tapaan, täyttäen esiintymistilan sykkivällä, välkkyvällä minimaalisella valo-äänipulssilla. Näin syntyvän esityksen voi kokea yhtä paljon äänenä kuin "kuvanakin".

BIOGRAFIA: BRUCE MCCLURE
Bruce McClure hankki arkkitehdin pätevyyden vuonna 1992. Hän on työskennellyt 23 vuoden ajan pienissä arkkitehtitoimistoissa. 1990-luvulla stroboskooppinen valo sytytti hänen kiinnostuksensa elokuvallisiin käytäntöihin ja pian filmiprojektorista tuli hänen pääasiallinen työkalunsa . Hän on modifioinut käyttämänsä projektorit erityiseen valon ja äänen organisointiin "projektoriperfomansseissa". McCluren työnsä on ollut esillä monilla festivaaleilla ja taidetapahtumissa. Niihin lukeutuvat mm. Rotterdam International Film Festival, the Toronto International Film Festival, the Whitney Biennial, the New York Film Festival’s “Views of the Avant-Garde,” the Walker Art Center, the Wexner Center for the Arts sekä lukuisat esittäytymiset Englannissa, Italiassa, Australiassa, Ranskassa ja muualla.

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AAVE welcomes Brooklyn-based experimental filmmaker Bruce McClure, a moving-image magician, as the main guest of the festival. McClure uses specially-modified 16mm projectors, film loops, transformers, and guitar effects pedals in his astonishing performances. McClure manipulates the projectors, light, and sound creating a flickering environment filled with a minimal pulsating beat, which is as much about the sound as the “image”.

BIOGRAPHY: BRUCE MCCLURE
Bruce McClure was licensed to practice Architecture in 1992 and has worked in small architectural offices for 23 years. In the early 1990’s stroboscopic light was his entrée into cinematic interests. He eventually adopted the film projector as a tool to organize light and sound into “projector performances.” He has shown his work at many festivals, museums, galleries and other events, including Rotterdam International Film Festival, the Toronto International Film Festival, the New York Film Festival’s “Views of the Avant-Garde,” the Whitney Biennial, the Walker Art Center, the Wexner Center for the Arts, as well as in several events and occasions in the UK, Italy, Australia, France and elsewhere.

This Archipelago's First Visiting
Friday, April 12, 2013
Malmitalo Cultural Center

Then Otherwise Rounding (2012) 30 min.
Forty Routs Static and Bawling (2011) 20 min.

Film is a one eyed mongrel twice run over.  Conceived in a mechanical cyclops, emulsion spread on its technical substrate is advanced by light spoilers who turn out motley lengths of heterogeneous slices taken from the world.  In a projective reversal, light is reformed and reflected as an integrated setting for lines of prospective and moving things. The disparities of the film frames are successively superimposed to the satisfaction of the eye followed by a continuous survey of film's margin for variations in translucency and the transduction into sound. At each film screening the object of mixed origins is run down but its remains are archived as silver trophies. In my performances film elopes from the nonsense of film lengths measured by footage to an atoll of patterned emulsion floating in an ocean of contingency.

A Second Bright Shimmery Shaking
Saturday, April 13, 2012
Malmitalo Cultural Center

As Yours So Mine to Reconstruct (2102)  30 min.
Loaded Leaving Only Two Alternatives (2012) 20 min.

Strung to harmonize on a another harp my second show during the festival may be an opportunity for some to find comfort in the knowledge that hate on first seeing may come to love on second earshot. Disparities between the ear and the eye and the analogous parts of projection machinery will be affirmed and celebrated.  Both of these performances will be conditioned by a pair of movie projectors threaded with banded loops.  Evidenced as near nothings the film circuits will be reckoned with alone superimposed on the screen or projected in tandem from the same machine.  Divisions laid out in two dimensions unified as a loop will be arrayed extemporaneously in the dimensions of chambered space for subjective consideration and engagement.