Living Cinema: Live Experimental Sound and Image Performance
By Bob Ostertag & Pierre Hébert
Saturday April 27, 7pm
At The Reading Room, Silom 19
The project brings the creation of cinema out of the movie and recording studios and on to the stage. Ostertag has created innovative software which allows the two artists to actually perform an animated movie with soundtrack, live of stage.
For decades, Pierre Hébert was considered one of the masters of the unusual craft of creating animated films by engraving directly on film. Living Cinema allows him to apply the craftsmanship acquired through years of engraving on film to whatever materials he wishes to use. Ostertag brings his years of experience with live manipulation of sampled sound to the project, using a variety of objects and techniques to create a soundtrack that is synchronized with the image as both are both being created. The flexible, open-ended character of Living Cinema gives the artists the ability to respond immediately to political and cultural events in a way that conventional cinema never could. The work is thus profoundly influenced by world events.
Living Cinema has performed at major museums of modern art in the US, Europe, and Japan, at Lincoln Center, and at many major international film festivals since 2000.
About the artists:
Bob Ostertag is a composer and writer who has been doing experimental music at major venues around the world since the late 1970s. Composer, performer, historian, instrument builder, journalist and activist, Ostertag’s work cannot be easily pigeonholed. He is widely hailed as one of the great exponents of spontaneous electronic composition of the last 30 years. He has performed at music, film, and multi-media festivals around the globe. His radically diverse collaborators include the Kronos Quartet, John Zorn, Mike Patton and Anthony Braxton. His writings on contemporary politics have also been published on every continent and in many languages. He is currently Professor of Technocultural Studies and Music at the University of California at Davis.
Pierre Hébert is a filmmaker and protégé of Norman McLaren. He has been a major figure in animation for many decades and the recipient of several lifetime achievement awards. He was first known for his abstract experimental films dealing with perception phenomena; later, his films became more socially and politically involved. He has also taken part in live performances with musicians and choreographers and his films evolve from multidisciplinary practices. Throughout his career, Hébert has experimented with hybrid cinematic forms as a way of expressing his anthropological and humanistic view of the world, exploring themes of urban alienation, social politics, the particularities of place and geography, the presence of forgotten histories in everyday life, and the impact of industry upon the environment.
Couldn’t believe that I met them today and really talked to Hebert! Even it’s a very short conversation due to a lot of people is also waiting to talk to him, he’s very very kind artist. I really wish that I could talk to both of them! The performance tonight was epic! Hebert talking about his life and he’s mention about Norman McLaren that I’ve already forgot about him so I searching about him again. And after that I research more about Bob Ostertag & Pierre Hébert, I recommend you, if you haven’t heard this name before or you’re interesting in animation, to spend sometime visit those links. You won’t be disappoint!🙂
Watching Norman McLaren works again today drag me back to a definition of the word ‘animation’ again. It’s really living!
Accidentally find this in suggestion VDO on Youtube,
Golub: The Canvas takes Shape
Leon Golubs massive canvasses depict scenes most of us would prefer not to see mercenary killings, torture, and death squads. Golub offers not simply a profile of a painter with a political conscience, but an investigation into the power of the artist to reflect our times and to change the way we think about our world.
This one-hour film juxtaposes scenes of violence and political repression around the world, statements by American politicians and others, the responses of viewers to Golubs exhibitions and an extended sequence capturing the artist at work. In his New York studio, he creates a huge canvas that depicts a brutal assassination a reminder, he says, of U.S. subsidized activity in El Salvador.