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  • 1
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    Gelebte Träume - Künstlerinnen des Surrealismus : = Le surréalisme au féminin (2020)
    [Straßburg] : [Arte France]
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    UID:
    b3kat_BV046427855
    Format: 1 DVD-Video (52 min) , 12 cm
    Content: "Heilige, Hexe, Kindfrau oder entrücktes Traumwesen - die Frau war das zentrale Motiv surrealistischer Männerfantasien. Mit den Vorstellungen der Künstlerinnen, die meist als Partnerinnen oder Modelle in den Kreis der Surrealismus-Bewegung rund um André Breton kamen, hatte das wenig zu tun. Obwohl sie bald mit den männlichen Kollegen ausstellten und ikonische Werke schufen, sind viele von ihnen bis heute kaum bekannt. Lee Miller, Leonor Fini, Leonora Carrington, Claude Cahun und Meret Oppenheim - sie alle wollten sich aus der passiven Rolle der Muse befreien und mittels Träumen und Mythen, Spielen und Maskeraden ihr eigenes Selbstverständnis zum Ausdruck bringen und die Bildwelten des Surrealismus erforschen. Die Dokumentation spürt diesen mutigen und selbstbewussten Frauen, die sich gegen viele Widerstände behaupten mussten, nach und trifft dabei in Südengland auch auf Lee Millers Sohn Antony Penrose, der heute noch im Haus seiner Eltern lebt. Auch in Paris und Bern stößt man auf verschiedene Lebensstationen und Werke der Künstlerinnen. Daneben geben die britische Surrealismus-Expertin Alyce Mahon und Ingrid Pfeiffer, die Kuratorin der Ausstellung in der Schirn, wichtige Einblicke in Leben und Kunst der fünf Surrealistinnen." tvinfo.de]
    Note: Fernsehmitschnitt: Arte 04.03.2020 , Deutsch
    Language: German
    Keywords: Surrealismus ; Künstlerin ; Surrealismus ; Kunst ; Künstlerin ; Geschichte 1927-1981 ; Schirn Kunsthalle Frankfurt ; Ausstellung ; Geschichte 2020 ; Film ; DVD-Video
    Author information: Bäschlin, Nathalie 1967-
    Author information: Ziębińska-Lewandowska, Karolina 1975-
    Author information: Pfeiffer, Ingrid 1966-
    Author information: Oppenheim, Meret 1913-1985
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  • 2
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    Backcomb
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    UID:
    b3kat_BV037485971
    Content: In "Backcomb" the demonic is unleashed on domestic space. It takes the form of two of femininity’s mildest tokens, hair and embroidery, that serve here in the creation of a sexualised surrealist experience. Within the claustrophobic space of a table-lay, a forceful and erectile mass of hair comes alive and slithers across its surface. The hair probes into vessels and punches through the cloth till finally order overturns and all smashes to the ground. [http://sarahpucill.co.uk]
    Note: 6 Min. - Farb. , Orig.: 1995
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 3
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    Stages of mourning
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    UID:
    b3kat_BV037486060
    Content: Ritualised through performance to camera, "Stages of Mourning" is Pucill’s journey of bereavement. In as much as this is a meditation on coming to terms with loss, the film is an exploration of how our relationship with the dead is made different through film. The artist orders image fragments of her late lover and collaborator, Sandra Lahire. By trying to physically immerse herself into photographs and film footage or by restaging these, Pucill forms a continuous stream of a life of two lovers. Through this doubling and layering, illusions accumulate as if these were a product of a machine that didn’t stop. [http://sarahpucill.co.uk]
    Note: 17 Min. - Farb. , Orig.: 2004
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 4
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    Sarah Pucill : selected films 1990-2010 (2011)
    [London] : Lux
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    UID:
    b3kat_BV037364966
    Format: 1 DVD, PAL, Ländercode 0, 121 Min., farb., stereo , Beih. , 12 cm
    Language: English
    Keywords: Pucill, Sarah 1961- ; Experimentalfilm ; Sterblichkeit ; Geschichte 1990-2010 ; Pucill, Sarah 1961- ; Experimentalfilm ; Lesbische Orientierung ; Geschichte 1990-2010 ; Beispielsammlung ; DVD-Video
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  • 5
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    Swollen stigma
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    UID:
    b3kat_BV037485985
    Content: "Swollen Stigma" nourishes the fantasy of its protagonist’s inner life and proposes a lesbian imaginary which takes leap into risk and displacement. The film opens with an entranced seated woman working her fingers through a single strand of hair and proceeds to explore her lived imaginary in which desire and fear interlace. She re-visions different moments in time which are haunted by an absent lover. Like a playful fairy princess, this lover appears upside down in an armchair, hanging legs-down from the ceiling, playing dead on the floor, or eating roses; her body continuously permeates the woman’s reality. The film’s shifting points of view jump between the protagonist, fantasy spaces and her lover, making an internal world leak into what is external with the fluidity of blood into water. [http://sarahpucill.co.uk]
    Note: 20 Min. - Farb. , Orig.: 1997
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 6
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    You be mother
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    UID:
    b3kat_BV037485951
    Content: "You Be Mother" uses stop-frame animation to disrupt the traditional orders of animate and inanimate, the fluid and the solid. An hallucinatory space is set up when a frozen image of the artist’s face is projected onto weighty pieces of crockery atop a table. Ears, eyes, nose and mouth, all become spatially dislocated as a determined hand begins to reposition, decant and mix. Events unfold to the amplified sounds of grinding, pouring and stirring. [http://sarahpucill.co.uk]
    Note: 7 Min. - Farb. , Orig.: 1990
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 7
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    Taking my skin
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    UID:
    b3kat_BV037486068
    Content: I’m not aware of you taking my skin’, says the artist’s mother to the camera as it zooms in on her eye as close as the lens will allow. "Taking My Skin" tracks a dialogue between the artist and her mother. Their exchange ranges from narrating the filming process ‘in the moment’ to relations in an earlier time – ‘how long do you think it takes for a child to become separate?’ Throughout the journey film spaces continuously dissolve and collapse only to separate again. Sometimes the artist is behind the camera, sometimes the mother, sometimes both simultaneously behind and in front, or neither. Both perform, film, and alternately instruct, position and direct the other. Formally and thematically, the film is an exploration of closeness, of synching, and the threat this poses to the self. [http://sarahpucill.co.uk]
    Note: 35 Min. - s/w , Orig.: 2004
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 8
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    Phantom rhapsody
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    UID:
    b3kat_BV037486104
    Content: Distinctive in its stark use of black and white and reminiscent of early silent cinema, this film is composed of a series of theatrical side-show ‘magic’ acts. Three women stage tricks of appearance and disappearance, punctuated by trumpet, cello and drums.Interchanging between the roles of magician, nude and filmmaker, they perform the preparation of an image and the prepared or completed image, drawing on iconic paintings. 16mm camera techniques as well as performance techniques with props - such as cloaks, drapery, curtains, wigs, mirrors, frames, wands and lighting – determine what is visible or absent in the film frame.With its surrealist sensibilities of artifice and reality and insistence on doubling and substitution, "Phantom Rhapsody" probes the notion of identity as surface that can be worn or shed and which can extend beyond the boundary of the skin, into the light in the room, the set and the props. [http://sarahpucill.co.uk]
    Note: 19 Min. - s/w , Orig.: 2010
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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  • 9
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    Cast
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    UID:
    b3kat_BV037486025
    Content: "Cast" creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points of view and juxtapositions of sound and silence force inner and outer realities to collide, creating an unsettling psychic world. [http://sarahpucill.co.uk]
    Note: 17 Min. - s/w , Orig.: 2000
    In: Sarah Pucill, [S.l.], 2011
    Language: English
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