MoMA’s film department has accepted the carte blanche offered by FIFA by creating three thematic programs whose films are mainly drawn from the Museum’s collections and very rarely seen in Canada. Programmers Sophie Cavoulacos and Brittany Shaw have included works by Cindy Sherman, Joseph Szkodzinski, Frank and Joan Gardner, Howard Guttenplan, Victor Ginsburg, Maria Lassnig, Mary Beams, Rose Lowder, Lynne Sachs, Nancy Holt, Robert Smithson, Joseph Cornell, Henry Hills, Deborah Stratman, Beatriz Santiago Munoz and Karimah Ashadu.
|The works are based on three thematic programs: At Home With… , Two Places and Eco City.|
They each see film images as a set of social and spatial relationships, in search of new aesthetic, experiential and political horizons. Through unusual juxtapositions, newly preserved versions and rarely seen works, the program provides an insight into the multitudes of stories in the Museum’s 30,000 titles preserved, links past and present, and celebrates artists who shape new ways of seeing.
DISCOVER THE PROGRAMMING
PROGRAMME 1 : AT HOME WITH...
Inspired by MoMA’s current Private Lives Public Space exhibition, the program explores the links between home movies, amateur cinema and American avant-garde cinema. The artists’ films (Bird by Cindy Sherman, Going Home Sketchbook by Mary Beams, Kopf by Maria Lassnig) are presented here in the company of home movies (New Orleans home movies, film of an unidentified family focused on art; New York, a film made in the summer of 1981 by an unidentified filmmaker), thus highlighting a common aesthetic and questioning the hierarchies of the moving image. These small-format works evolve over the years, with audiences projecting their own nostalgia and works themselves imbuing themselves with the passage of time.
PROGRAMME 2 : TWO PLACES
This program offers two perceptual experiences of a place: Lynne Sachs’s wandering and intimate portrait, Which Way is East: Notebooks from Vietnam (presented here in a newly preserved version from the Museum of Modern Art)and Rose Lowder’s structural Rue des Teinturiers. “It’s like she understands Vietnam better when she looks at it through the lens of her camera,” says Lynne’s sister Dana, a very fair observation since Lynne explores a place defined in her youth by broadcasting images of wars on television. The filming, frame by frame, of Rue des Teinturiers took place from a balcony over a period of twelve days spread over six months, the damaged lens of the camera masking the hectic urban life in the street, downstairs.
DISCOVER THIS PROGRAM
|PROGRAMME 3 : ECO CITY|
|Returning to a long tradition of land art and landscape films, while shoving it slightly, this intergenerational selection looks at the ecological, human and material heart of spaces that are decidedly not pastoral. From the nooks and crannies of New York to the sprawl of the suburbs in middle America, from a Lagos that endlessly varies to an abandoned military site in Puerto Rico – what can cinema reveal about the built environment?|
DISCOVER THIS PROGRAM