EXPRMNTL

XPRMNTL 4, Knokke

EXPRMNTL 4, poster by Pierre Alechinsky

EXPRMNTL, also known as the Knokke Experimental Film Festival and Festival du Film Expérimental de Knokke-le-Zoute was the largest Belgian festival dedicated to experimental cinema. The festival succeeded the Brussels Experimental Film Festival (1947 and 1958) and was held under the EXPRMNTL moniker in 1963 (EXPRMNTL 3), 1967 (EXPRMNTL 4) and 1974 (EXPRMNTL 5). It was conceived and curated by Jacques Ledoux and the Cinémathèque royale de Belgique in Knokke-le-Zoute. It was organized five times between 1949 and 1974.

There is no equivalent of its kind today, except perhaps for the programmers at Cinema Nova, and the people at MuHKA cinema and other film museums in Belgium. Another worthwhile film festival is the Brussels International Festival of Fantasy Film.

Gratuitous nudity #3

On The Necessity of Violation

“On The Necessity of Violation” by Jean-Jacques Lebel in TDR T41 (1968)

Description: Incl. photos of happenings – ‘Sunlove’ happening with the Soft Machine, 1967 (Mike Ratledge with naked girl), ‘Miss Festival Contest’ happening with a naked Yoko Ono in background, Lebel’s ‘Happening on the theme of Playtex bras’, etc. Also: Arrabal; Stefan Brecht; Ann Halprin; interviews with Jerzy Grotowski (17pp.) and Charles Ludlam

The tragedienne of strippers

Rita Renoir 2

Rita Renoir, stripteaseuse and intellectual

Rita Renoir was/is a French nude model, actress and ‘art’ stripteaseuse, known in Paris as the “tragedian of strippers.” She was mainly active in the 1950s, 1960s and 1970s along with an ‘elite’ of European stripteaseuses with exotic names as Lady Chinchilla, Rita Hymalaya, Rafa Temporel, Dodo d’Hamburg, Poupée la Rose, Bonita Super, Véronique, Truda, Lova Moor, Bettina Uranium, Sofia Palladium, and Rosa Fumetto.

Her first ‘serious’ work was with the happenings and mise-en-scènes of Jean-Jacques Lebel (Picasso‘s Le désir attrapé par la queue), and her first critical success was in the film Les Immortelles by Bourgeade. She also starred in Pierre Koralnik‘s film Cannabis.

She also worked with Michel Simon and starred in The Red Desert as Emilia.

She played herself in Sois belle et tais-toi.

Freddy de Vree wrote an article about her, so did Julio Cortazar (Homenaje a una joven bruja).

Any extra info is more than welcome.

Friendship on this day in history

[Youtube=http://www.youtube.com/watch?v=-nj31VMDWbk]

Larry Levan plays his last weekend at the Paradise Garage in 1987.

Finding the Paradise Garage Classics 1976-1987 playlist in 1996, when I first gained access to the internet was the impetus for starting Jahsonic.com. The song you hear Larry playing is by the first male disco diva: Sylvester. The song in question “You are my Friend” is surely the most beautiful ode to friendship ever confined to vinyl. 

If you would like to investigate Larry’s music further, I recommend the trilogy Club Classics & House Foundations (1995). Buy from Amazon here, here and here.

Tracing sensibilities worldwide: two recent discoveries

A large part of my wiki is about tracing certain sensibilities around the globe. Recently, I made two discoveries which ‘opened’ Portugal and Belgium for me.

I found – what I believe to be – the Portuguese equivalent of Western publishing houses Losfeld, Pauvert, Olympia in France, März in Germany, Calders & Boyars in the UK or Grove Press in the U. S. : Edições Afrodite run by Fernando Ribeiro de Mello. Most of the info comes from the Portuguese Wikipedia and much of it still needs to be translated. My Portuguese is limited, so any help is welcome.

Quite a wonderful cover:

Textos Malditos

Textos Malditos, an Edições Afrodite edition

Freddy De Vree

Rita Renoir, enz.

In Belgium I found Freddy de Vree, Belgian intellectual, cult figure and companion to Sylvia Kristel in the last years of his life. He was a friend of Topor and W. F. Hermans, wrote critiques on such diverse topics as Pigalle stripteaseuse Rita Renoir or French ‘excremental’ philosopher Georges Bataille.

Below are two images from De Bezige Bij editions of Hermans’s King Kong by publisher De Bezige Bij, of which I found the graphics amazing. De Bezige Bij, an interesting Dutch publishing house.

Two very impressive Bezige Bij covers:

King Kong WF Hermans

King Kong

King Kong WF Hermans 2

King Kong tweede druk

De Bezige Bij also published De Vree’s book on W. F. Hermans: De aardigste man van de wereld.

I thought it would be nice to leave you with an image of Rita Renoir:

Rita Renoir

The tropes of the Polish film poster

Danton poster made  in 1991 by Wiesław Wałkuski, for a 1983 film by Andrzej Wajda

It seems that my current interest in the work of Polish-French artist Roland Topor brings me again to the work of the Polish film poster makers. Their work is fantastic, figuratively and literally. Why is it that graphic design is at such a qualitative height in Poland. And why is it that their work is so unbelievably strange?

The tropes of the Polish film poster school are the fantastique, grotesque, weird, uncanny: pierced and punctured bodies, cut-out figures, dismembered limbs, independent body parts, eerie physicality and visceral transparency.

As to the why, the site owner of Polish film posters has an explanation:

A lot of patronizing drivel had been written about the ‘Polish School’ of poster design being a ‘product’ of a ‘resistance to Communism’ or some such (and by extension, of an overwhelming desire to breathe free under the learned guidance of a Bushmonkey-on-a-cheney). That view, espoused by Western writers who don’t know any better, and Polish ones (who should know better) has been omnipresent lately. No matter that the idea of art as an expression of political circumstance is par excellence a classic communist one.

In fact, quite the opposite seems to be true : free from commercial stranglehold, these artists produced brilliant works over an extended period of time. A lot of talented people found themselves in the right place at the right time. Like any artistic movement (or ‘school’), it had its own dynamics, peaks and valleys. Indeed, some of the most accomplished works were political (pro-socialist). And now the fact that Polish film poster is dead (and had been so since 1989 when the film distribution was privatized) is further evidence of that.–http://www.cinemaposter.com/index.html

As an encore I give you one more poster with the theme of independent body parts:

poster by Lech Majewski 1977 for Le Mouton enrage (1974)
sourced here.

About 500 more movie posters of the same site here.

I’ve reported on the paratextual qualities of the film poster here.