JULIE MURRAY: Slight Movements
Sunday April 11, 2010, 7:30 pm Los Angeles Filmforum presents JULIE MURRAY: Slight Movements
At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles
One of the highlights of 2004 for us was our evening with Julie Murray, thrilling us with the delicate experiments and natural wonders of her films and videos, astonishing at every turn. They sustain with a meticulous interweaving of found and original footage and dynamic cinematic manipulations. And then she charms the hell out of us with her expertise and Irish brogue. Filmforum is delighted to host again one of the finest filmmakers of today.
Tickets: $10 general; $6 students/seniors with ID; free for Filmforum members
Advance tickets at:
Special Thanks to Cal Arts and REDCAT for making this screening possible.
Program subject to slight changes, like those of a slime mold moving or ice melting.
Julie Murray will be screening at REDCAT with a substantially different program on Monday April 5 at 8:30 pm.. http://www.redcat.org/event/films-julie-murray
DETROIT PARK (2004, digital video, 6 mins)
In which Murray visits an old movie palace turned parking garage, an exploration that reveals an "archaeological layer cake of demolition, decay and scandalous erection" (Rotterdam Film Festival)
UNTITLED (light) (2002, 16mm, sound, color, 4.5 mins)
"The film's haunting images are accompanied by the continuous sound of a helicopter circling overhead, which at the close gives way to the distant sound of police sirens. The beams of light, which seem to emanate from above, could be confused with helicopter searchlights, a reading whose symbolic significance evokes both security and baleful scrutiny. These sounds, however, are not only immediately associated with the events of September 11; they have also become a ubiquitous presence in the urban sonic landscape. Murray reveals the subtle disconnect of sound and image only gradually, allowing conscious recognition to develop slowly in viewing the film."
-Whitney Biennial 2004 catalog
Fl.Oz (2003, 16mm, silent, 7 min.)
The most striking thing about observing the falls is that they don't seem to be 'falling' at all but, being so vast, give the impression of doing just the opposite. As one looks, this idea comes in and the body feels elevated and rotated with its force. Like as 'look' is to 'leap', the naming of this picture of Niagara's water-ous site, by way of a metaphoric matrix of bubbly spit volleyed from the tip of the tongue to contribute to all the world's great oceans in a barrel-suited outfit of onomatopoeic wit, is an attempt to allude to all that is other than looking that has to do with apprehension. JM
ELEMENTS (2008, 16mm, sound, 7 mins)
This atmospheric landscape is largely un-peopled but nevertheless expresses the busy presence of ghosts that reside in the snowy fogbound woods, the movement of the moon and in the hesitancy of the clouds. It is an exploration of location/place both macro and micro, inhabited by a few incidental shadowy figures related through the rhythm of their gestures.
YSBRYD (2008, digital video, 8 mins)
Slimemold, plant or animal? (1980, 8 mins, educational film)
MICROMOTH. (2000, 16mm, sound, 6 mins. )
A camera attached to the business end of a microscope facilitates the trawling of spaces shaped by small dead things among the tiny chambers somewhere between the naked eye and the mansions of molecules.
Infinitely devisable focal planes denote the topography and tilt of here an insect limb, large and tortuous as a conifer, or there a thorax, brown as maple syrup, all of which repeatedly emerge and dissolve through the lens.
These crumpled wings and hinged legs contribute to the compendium that make up the whole as the edges of these things prick the air en route to invisibility.
CONSCIOUS (1993, 16mm, silent, 9 mins)
A melding of camera original and found material teetering on an edge of a dim realization which, in this flux reality, is evident only in the fissures of splintered associations. Obscured among visceral absurdities and lightweight witticisms seeps a viscera, an acrid recollection, enmeshed in the intangibles and incongruities of aniline shadows. The residue of coming to. JM
DELIQUIUM (2004, 16mm, sound, 15 mins (but represents 8oo years))
Hidden among the pounding of animal hides,
All tamped into maps, their shapes
Explicit replicate butterfly wings, lie the motives of Lr.
The king who paid improper attention to his children.
From that first fascination
And its lascivious gaze,
Came the gorged desire for substance,
Among the skins,
Nets, shadows and milk bottles
Pried from the stomachs of metal fish,
Steam, smoke and things that won't stay,
Speared, dangled, measured, divined.
All dreamed through wallpaper,
Or dowsed from something they drowned in long ago.
Snowed in on either side,
Lr's beloved children,
Begin their 800 year journey.
From lake and to the sea
A thousand more.
Julie Murray was born in Dublin, Ireland. In 1985 she moved to the US and while creating and exhibiting paintings and photographs there she began making experimental films. Continuing to work in and draw relationships from painting and photography she has completed many short films and has collaborated on numerous film installation/performance events with artists, musicians and filmmakers.
Her work has been included in numerous festivals including the New York Film Festival, Images Festival in Toronto, the Rotterdam International Film Festival, and was exhibited at the Whitney Biennial in 2004. Along with screenings at the Museum of Modern Art, NY, the San Francisco Cinematheque and the Pacific Film Archive in California, Murray has been invited to present her films at the Art Gallery of Ontario Cinematheque in Toronto, at Anthology Film Archives, New York., Hallwalls, NY, Los Angeles Filmforum, SF Cinematheque, Pacific Film Archives, and has been a guest artist at various universities. Outside of the United States her films have been screened in programs at Centre George Pompidou, Paris, the Museum of Strasburg, the Dublin Film Festival and the London Film Festival.
She has curated programs of films including a selection for the Experimental Film night at the New York Women's Film Festival, the New York Filmmaker's Co-op 35th Anniversary series and for a 2005 Canyon Cinema/San Francisco Cinematheque collaboration.
The Museum of Modern Arts Film Archives as well as the Whitney Museum of American Art have acquired prints Murray's films for their archives and her films are part of the New York Public Library's Special Collections, NYC. Her film won Best Cinematography award at the 2008 Ann Arbor Film Festival.
This screening series is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and the Department of Cultural Affairs, City of Los Angeles. Additional support generously provided by the American Cinematheque.
Admission for Filmforum screenings: $10 general, $6 students/seniors, free for Filmforum members
Advance ticket purchase available through Brown Paper Tickets at
For the screenings at the Egyptian Theater:
Parking is now easiest at the Hollywood & Highland complex. Bring your ticket for validation. Parking is $2 for 4 hours with validation. Enter that complex on Highland or Hollywood. The theater is 1.5 blocks east.
Spielberg Theater at the Egyptian
6712 Hollywood Blvd.
Los Angeles, CA 90028
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|Dog Friendly: No|
|Wheelchair Accessible: No|