live audio - visual convergences

Static Mansion & The Threave Cinematheque Present:

A night of live Audio-Visual convergences

with:
...
Campbell Walker (NZ) / Kim Pieters (NZ) - Moving Image

Radio Cegeste (NZ) / Chris Smith / Ian Wadley / Wife - Sound

Wednesday 22 / 06

$5

Campbell Walker is an underground filmmaker from Dunedin, New Zealand. He has made 4 features, including Uncomfortable Comfortable (1999), generally regarded as the first digital feature made and released in New Zealand. His work is often typified by a focus on acting and improvisation within a minimal framework, as well as by a focus on film as an expression of the movement of time through space. (http://www.listener.co.nz/commentary/campbell-walker/) For this screening he will be showing new films made in Melbourne.

Sally Ann McIntyre is a Dunedin based artist whose mini FM radio
station Radio Cegeste (http://radiocegeste.blogspot.com/) investigates transmission as a site-specific, live experimental medium, via ephemeral sound performances which engage the improvisational potential of the electromagnetic spectrum, using a mini FM transmitter, a flock of small radio receivers, field recordings, shortwave, violin, music box, crank gramophone and portable record players. Radio programmes for live narrowcast performance have recently been heard at the Lines of Flight festival (Port Chalmers), Fredstock (Wellington), Overground (Melbourne), and have been installed variously, including in the exhibition Postcards from Gowanus at Cabinet Magazine's Gallery in New York, and the Frequency Oz series at the Deep Wireless festival, Toronto.

Kim Pieters is perhaps better known in her roles as abstract painter
and experimental musician in such New Zealand underground groups as Flies inside the Sun, Dadamah, Rain and Sleep, but her
interdisciplinary collaborations have been heard and seen in
exhibitions New Zealand wide, and a gathering archive of audio visual works has emerged to growing acclaim, seeding initially from her involvements in the visual side of legendary Dunedin experimental music festival Lines of Flight, which she began with Peter Stapleton in 2002. With their tendency to leave the viewer/listener in temporal suspension, these films' visual scoring of sonic abstractions and dronescapes inverts a sensory hierarchy as much as it promotes embodied sensorial immediacy, and are at home equally in the white cube of the gallery installation and the black box of the cinematic space.