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Event listing. Underground International: Kurt Kren and Tomonari Nishikawa, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
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Still. Kurt Kren, 31/75 Asyl, 1975. 16mm film; black/white; silent; 8:00 minutes. Courtesy of sixpackfilm, Vienna.
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Still. Tomonari Nishikawa, Ten Mornings Ten Evenings and One Horizon, 2016. 16mm film; color; sound; 10:00 minutes.
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Left to right: Megan Hoetger, Patrick Harrison, Tomonari Nishikawa. Post-screening discussion documentation. Underground International: Kurt Kren and Tomonari Nishikawa, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
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Kurt Kren, editing score for 31/75 Asyl as reproduced in Kren’s self-published No Film book. Courtesy of San Francisco Cinematheque, California.
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Kurt Kren, editing score for 31/75 Asyl as reproduced in Kren’s self-published No Film book. Courtesy of San Francisco Cinematheque, California.
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Kurt Kren, editing score for 31/75 Asyl as reproduced in Kren’s self-published No Film book. Courtesy of San Francisco Cinematheque, California.
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Kurt Kren, fragment of a score as reproduced in Kren’s self-published No Film book. Courtesy of San Francisco Cinematheque, California.
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Still. Tomonari Nishikawa, Tokyo - Ebisu, 2010. 16mm film; color; sound; 5:00 minutes.
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Left to right: Megan Hoetger, Patrick Harrison, Tomonari Nishikawa. Post-screening discussion documentation. Underground International: Kurt Kren and Tomonari Nishikawa, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
“Through the alternately contemplative and psychedelic works of Kurt Kren, a pioneering Austrian filmmaker, and Tomonari Nishikawa, a contemporary Japanese filmmaker living in the US, we explore the social and material undergrounds in which avant-garde film has been embedded, from a co-op basement in 1970s Amsterdam to the irradiated soil of present-day Fukushima. In their films, space and time compress and distend as the dis/junctures between the human eye and camera eye are explored, excited, exploited, excoriated. The seams burst open. The differences between reality and experience, apparatus and nature deliriously dissolve.”
Underground International was conceived as a cinematic duet to highlight the intergenerational convergences and transcontinental connections animating the structural filmmaking tradition. The program included films from Austrian filmmaker Kurt Kren(opens in a new tab) (b. 1929; d. 1998) and Japanese filmmaker Tomonari Nishikawa(opens in a new tab) (b. 1969), as well as a conversation between Nishikawa and co-curators Patrick Harrison and Megan Hoetger.
Program realized by invitation of the Berkeley Art Museum & Pacific Film Archive(opens in a new tab), California on 7 November 2018. Special thanks to Patrick Harrison for the curatorial dialogue, and to Tomonari Nishikawa for a lively post-screening discussion.