Evento

Dore O. - Program Three

KASKARA. 1974. 21 min.
BLINDMANS BALL. 1989. 35 min.
BEUYS. 1981. 11min. Co-directed with Werner Nekes.
Total running time: 71 min.

KASKARA retains the freedom that marked ALASKAs underside, with little-to-none of the nausea but the film additionally builds on the questions of kinship and memory haunting O.s earlier work via its exercised myopia, making it a game of pictures: how many ways can one look at a house (including views outside from within)? If KALDALON mediated its images by their means of acquisition the airplane, the car, the boat, the river, the screen KASKARA is content to divide and unite the same constituent fields of preexisting space, all but exhorting viewers to do the same while contemplating their own surroundings (domestic or otherwise).

BLINDMANS BALL again implements the glassy refractions of O.s early work, using the filmmakers signature double-exposures as discrete narrative idioms unto themselves. The appearance of a front-projected screen for memories within the bigger frame is a form of vindication for the nameless victim and his nurse. Other reminiscences are stirred into tactility by unexpected turns in whatever exists of the films drama, so the tearing of a piece of fabric guides the eponymous Blindman into a queasy reverie about childhood haircuts. If this is O.s bleakest work yet, its also the most resplendent in its rear-view on internalized trauma and repressed memory, assigning specific colors and optical procedures to the kinds of haptic memories rarely distilled into the moving image.

KASKARA is less a synthetic than an antithetical work: it poses the window as the way out, as a promise of space and peace. Each half, in a play of reflections and multiple exposures, seems to be an echo of the other. Dominique Noguez, Lart Vivant, February 1975

Beuys speaks about his conception of art for ten minutes with his face pointed at the wall, his back to the camera. This radical, simple form appears fully adequate for the films topic. There were, however, vociferous protests by the audienceThe question appears to be mainly of a rhetorical nature, in which way Beuys could have come closer to meeting its subjects works. More briefly, more precisely, unelaborated does not seem to be possible a great artistic film. Info-Medium, 1981

Read more: http://www.spectacletheater.com/dore-o/

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